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Press Quotes

” Stellar playing … Daniel Rowland has a powerful, glamorous tone, gleaming at the top and throaty and rugged down at the bottom.. he plays with such fiery intensity that the music seems to shake” Gramophone

“Gorgeous, intense and hyper musical interpretations.. Rowland shows an imposing array of violinistic colors, from very hazy pastels to fiery temperament.” NRC Handelsblad

” These wide-ranging performances could leave listeners stunned by their power and insight… they amply provide the kind of authenticity you might expect to hear from violinists like Ivry Gitlis, Ida Haendel, Isaac Stern, or Enescu himself-a force of nature which actually raises goose bumps. Urgently recommended! Fanfare

“It was not just the technical brilliance of his playing or the astonishing richness of his tone that gave his performance its unique stamp of quality. He radiated a single-minded intensity that made him seem totally at one with the music.” The Glasgow Herald

“Among the highlights  were organist Wolfgang Abendroth’s seven-part arrangement of Alban Berg’s violin concerto, all the more effective for its intimacy, with Daniel Rowland giving a lyrically intelligent account of the solo part…Rowland showed his versatility in a huge range of different works, culminating in a viscerally raw account of Piazzolla’s Cuatro estaçiones porteñas”  Financial Times

“Naked, vulnerable and extremely virtuosic playing – an ideal soloist‘ NRC Handelsblad

“glorious playing…ravishing in its finesse.” Tim Ashley, The Guardian

“Put the thought-provoking and always engaging violinist Daniel Rowland on the stage..and you get a very special musical experience [Korngold Concerto] Rowland enlightened every lyrical, harmonic and melodic aspect of the work… With his magnetic music-making he transfixed this listener, resulting in an experience that lingered in the mind long after the concert. It is, undoubtedly, an evening that will be remembered for many moons to come.” Thijs Odendaal, Beeld

“Daniel Rowland and his partner Natacha Kudritskaya stand together as a  guarantee of quality. Who is familiar with Rowland, knows he gets a wonderful tone from his Storioni, technically has no limits and has perfectly pure intonation. Rowland is also a true musical storyteller who in all facets of his art nuances even the smallest details, whether it in terms of bowing, vibrato or portamento. The latter is an essential aspect of his violin soul, where he treats extraordinarily imaginatively, without even for a moment lapsing into false sentimentality.. A splendid edition by a great violinist”  Opus Klassiek, Netherlands

“What an exceptionally fine soloist and leader this British/Dutch violinist is! We haven’t had such an emotive, but also totally and truly a charismatic guest in a very long time.. .the emotions, smouldering passions, the melancholy: Rowland transported us with daring and severity into the composers soul” Beeld, Johannesburg

“…Rowland’s spur-of-the-moment, light-on-the-bow inspiration, whereby the music vanished in the very act of articulation – a bewitching quality that few musicians possess” Andrew Clark, Financial Times

“Als Solist brillierte erneut Daniel Rowland , der mit emphatischer Virtuosität die Tiefen des Werks [Berg Concerto] auslotete. Aus größtmöglicher Schlichtheit heraus eroberte sich sein Bogen auf den Spuren der Kindheit die Welt der Töne und Stimmungen. Noch tanzte er heiter mit kurzen Anklängen an Ländler und Walzer über die Saiten. Doch das Leben wie auch Bergs Musik ist kein Rausch der Harmonie. Dissonanzen und widerstreitende Bewegungen ließen deshalb bereits erahnen, was sich im zweiten Teil zu wilder Verzweiflung steigerte.  Dramatische Ausbrüche von höchster Intensität und Virtuosität lösten sich auf in einen Klagegesang mit Anklängen an Bachs – Es ist genug” Neue Osnabrücker Zeitung

“Three days earlier with the Johannesburg Philharmonic Rowland relished the heroic scale of Tchaikowsky’s Violin Concerto, it’s arching vistas, it’s mettlesome virtuosity. He played the work as if he has invented the music himself.” Riek van Rensburg, Pretoria News

“How did he maintain such an incandescent level of tension throughout a work as long and involved as Cesar Franck’s Sonata and how many musical volts were coursing through that bow? His tone was silky smooth and sweet as honey and he seemed to be in another world, eyes closed and breathing in the very soul of the music. Then he was straight into the Introduction e Rondo Capriccioso by Saint- Saens played with ferocious agility and still that sweet tone.” Glasgow Herald

“The strongest memory of this penultimate concert of the Johannesburg Philharmonic of this year is the delicious playing, bot individually as well as together of Priya Mitchell and Daniel Rowland, who on this occasion played the viola.. Their sparkling performanc and the sensitive ensemble playing lifted our spirits” Thijs Odendaal, Beeld, Johannesburg

“Rowland and his players tackle them in a suitable frenzy of heat and colour, the quotations from Vivaldi peeking cheekily out from the potent mix of vibrant rhythms, complete with percussion, and the welter of glissandos and ponticello effects. The Vivaldi, too, is vividly’s all good pictorial stuff.” Tim Hoffray, The Strad

“What an exceptionally fine soloist and leader this young British/Dutch violinist is! We haven’t had such an emotive, but also totally and truly a charismatic guest in a very long time….No wonder Rowland quoted Piazzolla as saying ” no risk, no life “. Daniel Rowland approached Vivaldi in the same way. There were sharp contrasts in the solos, but also in the orchestral textures..the emotions, smouldering passions, the melancholy..Rowland transported us with daring and severity into the composers soul” Paul Boekkooi, Pretoria News

“Violinist Daniel Rowland is one of those rare musicians who can let themselves be completely carried away by the music, and yet keep a complete technical assurance. His playing is characterised by a burning intensity and a magnificent technique. He doesn’t fear the extremes, and as a result can deeply move his audience. Phantasy and passion were also characteristics of the interpretation of Lutoslawsky’s Partita. The richness of colors, the technique and above all sensuality of Daniel Rowlands playing were thrilling.” Tubantia, Netherlands

“Unforgettable Seasons” – The visiting Rowland caused a stir in our concert halls with his absolute immersion in the music, always completely at the service of the composer. This has proved tremendously inspiring for the musicians sharing the stage with him, in this case the Chamber Orchestra of South Africa, , that in this Seasons concert reached exceptional artistic heights. Rowland, in the direct setting of the concert hall exuded an amazing control over his musical powers and a sense of life that the audience can share with similar abandon: every nuance and corner takes you on that refreshing journey that cause such great emotions….Rowland’s bow arm, intonation and sonority and the constant healthy tension in musical colors reached wondrous heights in the complex passagework…and how touchingly the final bars were realised” Thijs Odendaal, Beeld, Johannesburg

“The performance by Daniel Rowland deserves to be highlighted for the character he brings to the most impetuous passages, but also for the his most subtle phrases, where he shows us that he understands the true meaning of silence.. “

“Daniel Rowland strode on to the stage and with a flourish dived straight into his role as conductor… He broke from directing the orchestra on occasion to add the sound of his own instrument, but it was only towards the end of the show that he showed exactly what he is made off. His strong charisma made him perfect for the part as he dazzled the audience with a wonderful performance of Sarasate’s “Zigeunerweisen.” Rowland did it great justice and it would have been worth seeing the production for that alone…” Manchester Evening News

“Daniel Rowland is sharp minded adventurer – This is clear: for him it is not just about the notes and the indications of the composer. He searches between the lines to reach the heart of the composition, In his recital one was constantly aware of the importance of the musical subtext, also evident from Rowland’s short, meaningfull verbal introductions. In Clara Schumann’s Romances one was aware of a timeless synthesis between the instruments… The performance of Beethoven’s Kreutzersonata was truly fascinating, dynamic, poetic and highlighting the composers revolutionary side. Bartok’s Melodia was performed with great contrasts in color, structure and freedom – The mystery of the middle section was magical. In Franck’s Sonata the performance reminded of Piatigorsky’s remark that one should perform this ‘ as in a trance, but with every note in it’s place’. There was a glow to all the broad melody lines, while dreamy elegance and dramatic contrasts where wonderfully balanced” Beeld, Johannesburg

“With a great sense of lyricism Daniel Rowland plays these gorgeous sonatas. His whole body plays the violin, not through exaggerated movements – it is a charisma that’s hard to put into words.” Haarlemse Courant, Netherlands

“Completely naturally the sympathetic English violinist Daniel Rowland plays the Canzonetta with much feeling and intimacy. The following Finale was like a wild chase at the highest level. Rowland masters not just the fast, technically perfect playing, but can also create fine nuances on all levels. Bravo’s and long applaus was the result” Badisches Tagesblatt, Baden-Baden

“His heart stopping performance of Berio’s Sequenza at the Wigmore Hall..” New Notes, London

“The soloist was the English violinist Daniel Rowland, who had impressed greatly in his recital two days earlier. The Elgar concerto was well suited to his emotional, dramatic style of playing. His lovely violin tone was displayed to excellent effect in the long melodic lines of the first movement, in which the soloist floats bird-like over a subdued orchestra; and the Andante, the heart of the work, produced beautifully eloquent playing, with plenty of vibrato. The surprise cadenza towards the end of the final movement was executed with great brilliance, and the performance as a whole was a rousing success, as indicated by the storm of applause at the end.” ArtSmart, Durban

“… a performance that will not lightly be forgotten by any of those present. Stylish, tasteful and impeccable – but this was so much more: here was deep musical understanding that ranged from tender intimacy to the greatest excitement, always backed up by an astonishing technical ability…the standing ovation was what this wonderful performance so richly deserved.”  Die Burger, Cape Town

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