Posts in Tamsin Waley-Cohen

“Accompanied most sensitively by Berlin-based Mario Häring, on piano, Waley-Cohen set the pulses racing with the breathless luminosity of her playing, passionate yet controlled, flamboyant but not extroverted, from the first movement to the surging D minor finale, modulating from fragile vibrato to fully cascading passion. She took us on an emotional roller-coaster.”

The Yorkshire Times (Andrew Liddle), July 2019

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“I’d trust the violinist who wedded works by Roy Harris and John Adams on one of the most absorbing concerto discs for many years, to bring us interesting repertoire, and that is exactly what Tamsin Waley-Cohen does here. [Richard Blackford’s writing in Niobe] is thematically concentrated, notably evocative and clearly heartfelt. It is close to Szymanowski in sound and in its solutions in pitting a solo violin against a lustrous orchestra. A particularly lustrous orchestra in this case, the Czech Philharmonic, against which Waley-Cohen’s violin tone is characteristically strong and steely, notably in the double-stop cadenza over a drone in ‘The Mourner’.”

Gramophone Magazine (Andrew Mellor), September 2018

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The heart gives a little leap at the prospect of Dvorak chamber music, especially when it comes from a duo as engaging and intelligent as Tamsin Waley-Cohen and Huw Watkins. […] It feels as though these performers have got the scale of this music just right: Nothing forced, no obvious straining for effect, just fresh, thoughtful and committed interpretations shot through with poetry and alertness. This is real chamber music.

Gramophone (Richard Bratby), January 2018

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“Waley-Cohen captures the score’s spirit of infectious bonhomie to perfection, and brings a similar air of uncluttered simplicity and ingenuousness to the Four Romantic Pieces [by Dvorak], creating the bracing impression of inspired improvisation.”

–The Strad (Julian Haylock) (Review of Bohemia (CD), 2017

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Tamsin Waley-CohenWRB

“One of this year’s [Rising Stars] artists is the terrific British violinist Tamsin Waley-Cohen … In a programme that included a febrile and rhapsodic account of Poulenc’s Violin Sonata, Waley-Cohen gave the London premiere of Oliver Knussen’s Reflection ... this beautifully crafted eight-minute work is made of tiny aural brushstrokes suggesting water: ripples mirroring each other and bursting out in expression and ecstatic high lines.”

–The Observer (Fiona Maddocks), 2017

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Tamsin Waley-CohenWRB

“Oliver Knussen’s eight-minute Reflection (2016), for violin and piano, had its London premiere from Tamsin Waley-Cohen and James Baillieu, superb players both. With its stylistic assurance and fresh-sounding impressionism ... it seemed a piece long present in the canon.”

–The Sunday Times (Paul Driver), 2017

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Tamsin Waley-CohenWRB

“During the orchestral introduction, the soloist visibly entered into the soundworld, and this was echoed in the later orchestra-only sections, when her body language showed she was living the music with them. In every sense of the word, there was harmony between all players, a great feeling of supporting each other. The whole concerto was a triumph, but special mention goes to her pin-drop cadenza in the first movement, with eloquent silences and an exciting sense of anticipation. Affectionate applause was followed by Waley-Cohen's exquisite encore in the shape of J.S. Bach's Sarabande.”

–Bachtrack (David Mellor)

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Tamsin Waley-CohenWRB

“Waley-Cohen had shown what a fine player she was, projecting George Benjamin’s Three Miniatures, Richard Causton’s new Fantasia and Air and Fernyhough’s daunting Intermedio alla Ciaconna with fearless intensity.”

–The Guardian (Andrew Clements)

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Tamsin Waley-CohenWRB

“Young Artist to Watch – Great playing from the very talented Tamsin Waley-Cohen. This really highlights the talent of the next generation of virtuosi.”

–Classic FM (David Mellor)

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Tamsin Waley-CohenWRB

“... her sense of line and capacity to make things happen are both beautiful and strikingly individual ... The Lark Ascending's opening solo searches out an extreme degree of musical space in a way that's at once daring and mesmerising.”

–BBC Music Magazine

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Tamsin Waley-CohenWRB

“Tamsin Waley-Cohen launches into Szymanowski’s Sonata with gusto, her bow rasping on the string in the composer’s passionate flights, her sound meltingly beautiful and fragile in his graceful melodies. She has a potent rhetorical style, moving neatly from dramatic flourishes and cadenzas into gentle lyricism.”

–The Strad

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Tamsin Waley-CohenWRB

“Her playing reminded me of that of the great Arthur Grumiaux; a higher compliment is impossible.”

–The Examiner, Ireland (Declan Townsend)

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Tamsin Waley-CohenWRB

“Miss Waley-Cohen charmed us throughout the evening with a Beethoven that was passionate and elegant, full of a liberty and grace we haven’t heard for a long, long time.”

–Una Voce Poco Fa, Italy (Massimo Crispi)

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Tamsin Waley-CohenWRB

“... superlative performances of Vaughan Williams. The Lark Ascending ... Highly recommended.”

–Northern Echo

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Tamsin Waley-CohenWRB

“Waley-Cohen brings such intimacy to her performances that at times one could believe her 1721 Stradivarius was a breathing organism.”

–New Zealand Herald on Tamsin's Hahn/Szymanowski disc

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Tamsin Waley-CohenWRB