• Lisa Batiashvili

    Lisa Batiashvili
  • Denys Proshayev

    Denys Proshayev
  • David Garrett

    David Garrett
  • Concerto Köln

    Concerto Köln
  • Nicola Benedetti

    Nicola Benedetti
  • Venice Baroque Orchestra

    Venice Baroque Orchestra
  • Jos van Immerseel

    Jos van Immerseel
  • Philippe Jaroussky

    Philippe Jaroussky
  • Giuliano Carmignola

    Giuliano Carmignola
  • Miguel Harth-Bedoya

    Miguel Harth-Bedoya
  • Anima Eterna Brügge

    Anima Eterna Brügge
  • Chouchane Siranossian

    Chouchane Siranossian
  • Tal & Groethuysen

    Tal & Groethuysen
  • Alexandre Tharaud

    Alexandre Tharaud
  • Andrea Marcon

    Andrea Marcon
  • Rundfunk-Sinfonieorchester Berlin

    Rundfunk-Sinfonieorchester Berlin
  • Raphaela Gromes

  • Jean-Yves Thibaudet

    Jean-Yves Thibaudet
  • Javier Perianes

    Javier Perianes
  • Jean Rondeau

    Jean Rondeau
  • Russische Nationalphilharmonie

    Russische Nationalphilharmonie
  • Shao-Chia Lü

    Shao-Chia Lü
  • La Cetra Basel

    La Cetra Basel
  • Orfeo 55

    Orfeo 55
  • Katia & Marielle Labèque

    Katia & Marielle Labèque
  • Regensburger Domspatzen

    Regensburger Domspatzen
  • Ensemble Artaserse

    Ensemble Artaserse

David Garrett's Recital Programm excites Audience and Media

David Garret Recital Tour May 2016 with Julien Quentin

May 8th, 2016 - Saarbrücken
May 9th, 2016 - Nuremberg
May 10th, 2016 - Munich
May 12th, 2016 - Strasbourg
May 13th, 2016 - Mannheim
May 15th, 2016 - Stuttgart
May 16th, 2016 - Berlin
May 19th, 2016 - Hamburg
May 26th, 2016 - Essen
May 27th, 2016 - Hanover
May 28th, 2016 - Paris
May 30th, 2016 - Freiburg
May 31st, 2016 - Bonn

César Franck (1822-1890): Sonata for Violin and Piano in A-Major (30 Min.)
Henryk Wieniawski (1835-1880): Légende in g-minor, Op. 17 (8 Min.)
Pablo Martin Melitón Sarasate (1844-1908): Romanza Andaluza, Op. 22, No. 1 (04:30 Min.)
Antonin Dvorak (1841-1904): Humoresque in G- Flat Major, Op.101/ 7 (4 Min.)
Sergej Prokofjew (1891-1953): Marche (2 Min.) from the Symphonic Suite from the opera “The Love for Three Oranges”, Op. 33a
Fritz Kreisler (1875-1962): Rondino on a Theme of Beethoven (3 Min.)
Vittorio Monti (1868-1922): Csardás (4 Min.)
Edward Elgar (1857-1934): La Capricieuse, Op. 17 (4 Min.)
Henryk Wieniawski (1835-1880): Polonaise D-Major, Op. 4 (5 Min.)
Peter Tschaikowsky (1840-1893): Mélodie in E-Flat Major, Op. 42, No. 3 from “Souvenir d´un lieu cher” for Violin and Piano (4 Min.)
Fritz Kreisler (1875-1962): Variations on a theme of Corelli in the style of Tartini (04:00 Min.)
Nikolaj Rimskij-Korsakow (1844-1908): The Flight of the Bumblebee (1:30 Min.)
Antonio Joseph Bazzini (1818-1897): La Ronde des Lutins, Op. 25, Scherzo fantastique (5 Min.)

Berliner Morgenpost
The Soundtrack of his Life
By Volker Blech
“...Even if it's always mentioned that classical music purists have a problem with Garrett, this simply can't be as they don't even go to his concert. The violinist deliberately reaches out to classical music newcomers; he tolerates spontaneous applause and flashes from cell phones; he leads the followers unswervingly through his cosmos. Garrett is a remarkable music educator; a socialite of classical music. What makes this evening extraordinary is that he manages to turn an enormous sold-out philharmonic hall into a cozy living room….”

Just like that
By Frank Armbruster
“… but in terms of his violin playing, Garrett doesn't miss a trick... this makes Garrett's performance spectacularly light and brilliant…”

Abendzeitung Online
David Garrett on Recital Tour
By Michael Bastian
“…However Garrett always leaves the strongest impression when, alongside his dexterity and light performance style for which he has an extraordinary talent, a certain weightiness is added. … yet with the program finale both David Garrett and his idol, Itzhak Perlman, share common ground: the immensely difficulty-ridden “Ronde des Lutins”, this fantastic dance of the goblins, is performed as if it would be the easiest thing in the world.”

Bonner Generalanzeiger published on June 2nd, 2016
Musical Delicacies
By Bernhard Hartmann  
“…Franck's Music nestles into the artistic temperament of the violinist. … Yet Garrett steers the melodic flow of the preciously-intimate music with a delicate performance style, phrasing exactly and deliberately, especially in the rhapsodically-spun third movement…

The nonchalance with which he crafts and phrases Antonin Dvorak's Humoresque in G-Major for instance, is pure violinistic brilliance: for him, it's not just about speed here, rather the musical groove that also exists in classical music…”

Neue Presse published on May 28th, 2016
David Garrett in the Kuppelsaal: Purely Classical with Designer Stubble
By Kai Schering

“…After all, Garrett put his [Franck's] violin sonata at the beginning; more than a half of an hour of sullen, late romantic sounds with immense technical challenges. Here it seems as if Garrett would like to show everyone: Look what else I can (still) do. Indeed, he can. And he does it so well that one forgets the rocker facade. … classical music can be fun – that is David Garrett's message. And if that message is received, then concert evenings like this are worth it….”

ruhrnachrichten.de as of May 27th, 2016
David Garrett plays the Soundtrack of his Life
By Oliver Dietze
“..With a relaxed smile, he lets his fingers fly over the strings; technically, this violinist is in a class of his own. Fireworks of a virtuoso:…But also the melancholic works like the Mélodie by Tschaikowsky that the violinist used to love to play at home together with his older brother at the piano, he plays beautifully and heart-meltingly on his Stradivarius…”

Hamburger Morgenpost Online
David Garrett The Classical Music Star brings Hamburg Joy
By Katja Schwemmers
“..Garrett's violin playing mesmerizes…”

David Garrett delights in the Essen Philharmonic
By Klaus Albrecht
“…However the important message was delivered by his instrument, for, despite all show business, commercial hype and effective crossover upon which the purists like to look down, David Garrett has not forgotten how to play the violin. … After the intermission, musical snacks: the highly-anticipated bravura piece á la Sarasate … And with sparkly, technical fireworks in Monti's “Cardás” or Bazzini's “Dance of the Goblins”, cheers and standing ovations were guaranteed…”

Mannheimer Morgen
The Soundtrack of his Life
By Hans-Günter Fischer
“…David Garrett gets them all - those who would attend a classical concert anyway but also those who under other circumstances would never attend– the young ones. … It's an almost nostalgic pleasure…”

Verlagsgruppe Rhein Main
Circus on Four Strings
By Sandra König
“…The “Devil's Violinist” wants and is able to show that he is in full control of his instrument and, deservedly so, held the record for two years in the Guinness Book of Records as the fastest violinist in the world. … That's how one can listen unimpaired to how the beautiful “Dance of the Goblins” (Bazzini: “La ronde des Lutins”, Op.25) manifests into the highlight of the evening and the Kreisler Variations on a theme of Corelli into one of the most touching performances…”

David Garrett in Mannheim: Musical Fireworks in a Flurry of Camera Flashes
By Carmen Oesterreich
“…The beginning of César Franck's violin sonata in A-Major is promising; beautifully diverse sound range, harmonious ensemble playing between Quentin and Garrett, 30 minutes of almost still concentration in the hall. … The violinist speaks in pleasant tones, not too much, boldly, open, personable. He raves about the virtuosity of those from whom he learned and with whom he played: Abbado, Menuhin, Heifetz, Milstein and his most important teachers, Isaac Perlman and Ida Haendel…”

David Garrett impresses Audience in Mannheimer Rosengarten with the “Soundtrack of his Life”
By Ina Neumayr
“…Who would have ever thought that there would be a 21st century, arena-filling Paganini?..”

Saarbrücker Zeitung
David Garrett plays the “Soundtrack of his Life”
By Hans Bünte
“…Connoisseurs of classical music have already established that Garrett's aplomb as violinist has not suffered as a result of his excursions into pop and rock and that he managed to imaginatively and dramatically execute the third movement of the “Recitative”, supported by the outstanding accompanist, Julien Quentin. … And as he, the audience expert, dedicated the final “Ronde des Lutins” by Bazzini to his parents, there was no holding back. Standing ovations, rhythmic applause, Kreisler encore.”