Artist Details

Ariadne Daskalakis

Ariadne Daskalakis

ART_CATEGORY: Instrumentalists - Strings

The violin playing of Ariadne Daskalakis is characterised by its pure, warm sound, married to technical brilliance. She is a player that provokes a spine tingling reaction from the first stroke of her bow. The warmth of her playing is mirrored in her character, making her performance generous in a manner that draws the listener right into the soul of the music



Ariadne Daskalakis (violin) by Lundstrom-AM

...Striking athleticism, musical insight, expressive embellishment and elegiac lyricism.

The Strad


A unique violinist, Ariadne Daskalakis is a discerning musician with a profound understanding of musical language and a keen interest in its historical development. The flexibility and warmth of her tone are celebrated internationally by audiences and critics alike.

Critically acclaimed for her stylistic versatility and her unique sound, violinist Ariadne Daskalakis is totally at home on the international stage and has performed in venues ranging from Boston's Jordan Hall and Gardner Museum and New York's Carnegie Recital Hall to the Gulbenkian Center in Lisbon, the Théâtre des Champs-Elysées Paris, the Rudolfinum Prague, the Cologne Philharmonic Hall and many others. In recent seasons she appeared with Concerto Köln, the Dortmund Philharmonic and the New Bedford Symphony Orchestra, and gave repeat performances with the Cologne Chamber Orchestra and the New Rhine Chamber Orchestra. In the dual role of leader and soloist Ariadne Daskalakis has collaborated with the Stuttgart Chamber Orchestra, the Prague Chamber Orchestra, the Cologne Chamber Orchestra and the Ensemble Oriol Berlin. She was hailed by German MDR Radio as a “universal specialist” for her recording of Vivaldi Concerti with the Stuttgart Chamber Orchestra on the label Tacet.


Ariadne Daskalakis won prizes at the International ARD-Munich Competition, the St. Louis Symphony Strings Competition and from the Mozart Society Dortmund, the Harvard Music Association and Framingham State University, which awarded her the first Christa McAuliffe Medal. An avid chamber musician, she led the Manon Quartet Berlin for ten years. She performs regularly as recitalist or, on baroque violin, with her Ensemble Vintage Köln, with which she recently recorded the complete Rosary Sonatas by Biber for the label BIS. Early Music America praised her Biber recording: "With this recording Daskalakis propels herself into the front rank of historical violinists."



Numerous recordings document the unusually broad spectrum of her repertoire and the rich depth of her musical experiences. These include the Complete Violin Sonatas by Handel, Fauré and Raff, Violin Concerti by Tartini and 20th century works by Lutoslawski, Janacek and Szymanowski (on the labels Naxos, Carpe Diem and Tudor). Her Handel and Tartini recordings were both Selections of the Month in The Strad magazine. Recent recordings with period instruments present sonatas by Ferdinand Ries and violin concerti by Jan Kalliwoda on the label cpo.

Ariadne Daskalakis has also collaborated with the Academy of Ancient Music Berlin; she performed as soloist in the Vivaldi Four Seasons in “4x4”, in which dancer Juan Kruz Diaz de Garaio Esnaola choreographed the soloist and the whole ensemble.

A former student of the New England Conservatory Preparatory School, Ariadne Daskalakis enjoyed an education in music and humanities at the Juilliard School, Harvard University and the Hochschule der Künste Berlin. She is Professor at the Hochschule für Musik und Tanz Cologne and has taught as guest at the Juilliard School, the Eastman School of Music and various other international institutions and festivals. She has served on the juries of the ARD International Music Competition, the Isang Yun Competition and the Cologne International Music Competition (as Jury Chair).

Former students have positions in fine orchestras including the WDR Symphony and WDR Rundfunk Orchestras Cologne, the Orchestre Philharmonique de Luxembourg, Leipzig Gewandhaus Orchestra, the Beethoven Orchestra Bonn, the Aachen Opera and the Karlsruhe State Theatre. Prizes have been awarded to her students at international competitions in Germany, Italy, Spain and Japan.

In 2012 Ariadne Daskalakis founded “Music from Land’s End,” an international summer chamber music festival in Wareham, Massachusetts. In 2015 she has been named Artistic Director of the European Academy for Music and Art Palazzo Ricci Montepulciano.

Ariadne Daskalakis is based in Cologne and plays a violin by G.B. Guadagnini.


To view YouTube clip of Ariadne Daskalakis playing baroque violin click here.






Early Music America – Summer 2016 Issue.



Heinrich Biber

The Rosary Sonatas

Ariadne Daskalakis, violin

Ensemble Vintage Köln

(Gerald Hambitzer, harpsichord and organ; Rainer Zipperling, viola da gamba; Simon Martyn-Ellis, theorbo)

BIS-2096 (2 discs)


The music of Heinrich Ignaz Franz Biber “von Bibern” (1644-1704), the esteemed Kapellmeister for the Prince – Archbishop Maximilian Gandolf von Kuenburg in Salzburg, Austria, has a special importance as testimony to the violin’s advanced artistic capabilities as it emerged from its dance band roles in the first century of its existence.


Biber’s complete Rosary (sometimes called “Mystery”) Sonatas have been a touchstone for early violinists, including the pioneering efforts of Susanne Lautenbacher and Sonya Monosoff (1962), Eduard Melkus (1968), Evan Johnson (1987), Reinhard Goebel (1991), John Holloway (2002), Andrew Manze (2005), and, most recently, Rachel Podger and this release (which also includes a sonata by Georg Muffat) featuring Ariadne Daskalakis.


All the Biber sonatas except for the first and last—the unaccompanied Passagalia—use scordatura, an adjustment of standard tuning to create chordal resonances. The first 15 have descriptive titles relating to events in the New Testament, like “The Annunciation,” “The Crucifixion,” and “The Ressurrection.”


A New Englander of Greek heritage, Daskalakis is based in Cologne, Germany, where she is surrounded by colleagues skilled in both new and old music. As is customary, she uses multiple instruments to deal with the different tunings and moods: a 1732 Gennaro Gagliano, a 1748 Peter Wamsley, a 1989 David Rubio, and a 1769 Giovanni Baptista Guadagnini. Her interpretations are an ideal balance of control and abandon, darkness and light, from the intensely dialectical Ciacona representing “The Presentation of Jesus in Temple” and the bleakness of the Lamento of “The Agony in the Garden” to the unbridled joy at the end of “The Descent of the Holy Spirit.”


With this release, Daskalakis propels herself into the front rank of historical violinists.



Benjamin Dunham – Early Music America





Land’s End Festival rewards area audience

(Benjamin Dunham is retiring this month as editor of Early Music America magazine. He sent this review to his son Sam, who is doing research in Salzburg, Austria, while attending the Salzburg Festival to hear a complete cycle of symphonies of Anton Bruckner.)

July 27, 2014

Dear Sam:

You may be at the Salzburg Festival to hear Bruckner and I may be here by the shores of Buzzards Bay, but you won’t hear and better concerts in Salzburg than the one I heard Saturday night in Wareham!


The Music from Land’s End festival (aka Ariadne Daskalakis and Friends) concluded in the Church of the Good Shepherd with a brilliant programme constructed and partly arranged by her husband, violist and composer Sebastian Gottschick. It mixed old music and new and made the concoction appealing to all (the program was premiered with equal success the night before at St. Gabriel’s Church in Marion).


Daskalakis is an internationally acclaimed violinist who grew up in Wareham and now teaches in Cologne, Germany. She assembled a string octet of her students, friends and faculty colleagues to play a program called “Crazy Eights!, and although it was a dreamy midsummer’s evening, there was nothing by Mendelssohn to be heard!


The first set interwove works by Gabrieli and Purcell with movements from the Five Pieces for String Quartet, Op. 5 by Anton Webern (1883-1945). The players all seemed to have background in or respect for the principles of historical performance, so they sounded like a well-matched chest of viols in the early music, and their playing of the Webern was, in a word, scintillating. I doubt that Webern’s evocative music has ever been better played in this area (if at all!), and surely never better received by an audience.


The next set was made of three contrasting works, creating an appealing concerto grosso: the scherzo from Louis Spohr’s Double Quartet in D Minor, Op. 65, the andante from Mozart’s Octet in C Minor, K 388, and sections transcribed from Bach’s eight-part motet “Singet dem Herrn”. While this string arrangement was missing the text of the original, you could almost hear the words shouted out as the players kicked into the final rollicking “Alleluias”.


After intermission, three modern works for solo string were mixed with “In Nomines” by Purcell and Givvons. (An “In Nomine” was a popular genre in the Renaissance that used part of a chant from John Taverner’s Missa “Gloria Tibi Trinitas” as a cantus firmus, in the way that jazz players might use a quote from a Broadway hit song to establish he harmonies for their improvisations.) These Purcell and Gibbons works were wonderfully played and acted to clear the palette, like a slice of freshly baked bred, for the complicated bouquet of the recent-vintage wines in between. In “Per Mattia” by Salvatore Sciarrino (b. 1947), violinist Andreia Chang shivered through what seemed like fond and distant memories. In “Nocturne” by Kaija Saariaho (b. 1952), violinist Sini Simonen, a fellow Finn, controlled the searching double-stops and atmospheric harmonics to create the perfect mood. And in “In Nomine all’ongeres” (Hungarian) by György Kurtag (b. 1926), Gottshick skilfully delineated how and why the idea for juxtaposing these In Nomines with modern works might have first come into his head.


The concert concluded with the Dmitri Shostakovish’s Two Pieces for String Octet, Op. 11. In the Prelude: Adago, Daskalakis positively nailed a recitative-like cadenza at the end of the piu mosso section, rappelling down the fingerboard as if she had studied with Spiderman at The Juilliard School, and the Scherzo, as you can imagine from your own playing of Shostakovish Quartet No. 8, was powerfully slashing of slashingly powerful, take your pick. The audience jumped to their feet in appreciation and demanded two encores.


The word will have to come out: Wareham is home to a small but internationally significant summer festival. If you’re around next summer, you won't want to miss it.



Benjamin Dunham, Wareham Courier 




Bernstein Serenade : Philharmonic Orchestra Hahen : Stadthalle Hagen

...Ariadne Daskalakis, youngest Violin Professor in Cologne since 2000, was brilliant as the soloist. It was wonderful how she expressed enraptured intimacy in her playing. In the last movement 'typical Bernstein' flared up: jazz-influenced passion with rhythmic percussion episodes.

Christoph Bingel, Westfälische Rundschau, February 12 2009


'Celebrated: Ariadne Daskalakis' ...the young violinist Ariadne Daskalakis masters the solo violin part with as much dreamlike singing as rhythmic power, and she rises with perfection to stratospheric heights. The public celebrates the soloist with enthusiasm and receives a movement of Bach as an encore.

Monika Willer, Westfalenpost, February 12, 2009

Beethoven Concerto : Athens State Orchestra : Megaron Concert Hall

"...The first half of the concert was dominated by Beethoven's Violin Concerto, performed by Ariadne Daskalakis. Her sound was powerful and confident. The structural unity of the concerto was performed with clarity... The middle movement was performed with delicacy and sensitivity. Daskalakis' clear, round and tonally secure sound was especially appreciated. In the third movement... the violinist showed power and expression and concluded the concerto with success."

Nikos Dontas, Kathimerini, January 18, 2009

Violin Concertos by Tartini and Haydn with the Cologne Chamber Orchestra in the Cologne Philharmonic Hall

"Eyecontact with the Virtuoso" Fresh Wind in the Cologne Philharmonie's Series 'Masterworks' ...The orchestra had already made an award-winning quality  recording of Tartini Violin Concertos with the fabulous violinist and Cologne Professor Ariadne Daskalakis. They performed Tartini and Haydn in historical tradition without conductor, opting for direct contact between the orchestra and the virtuoso. She resisted heaviness in the carefree passages, and let her violin dance and sparkle its way through the remarkably difficult material.

MK, Cologne Stadtanzeiger, December 12, 2008

"Elegance till the last Note." ...Highlights of the richly varied program were the performances of violinist Ariadne Daskalakis. She performed two A-Major concertos by Tartini and Haydn as soloist and leader with lightness, tasteful vibrato and intelligent interaction with the orchestra. She formed the Adagios with feeling and poetry and the fast movements with dream-perfect elegance and energy.

Matthias Corvin, Cologne Rundschau, December 9, 2008

Beethoven Violin Concerto: Polish Chamber Philharmonic, Cond. Wojciech Rajski

"The highlight was Ludwig van Beethoven's famous Violin Concerto… [Ariadne Daskalakis] unfolded a soulful, intimate, melting tone, of which the bewitching beauty commanded the listeners' attention in spite of the open-air conditions... Ariadne Daskalakis came out strong  with commanding form in the Rondo, an energetic movement which enchants with its voluptuously intoxicating sounds."

Hanna Styrie, Kölner Rundschau, 20. August 2007

"The highlight of the concert: Ludwig van Beethoven's Violin Concerto in the interpretation of the Greek-American violinist Ariadne Daskalakis, who holds a professorship at the Cologne Conservatory. Daskalakis' flourishing violin sound was astoundingly present even in the last 2 rows...The violinist stressed the sonority of the concerto..."

Frank-Uwe Orbons, Kölner Stadt-Anzeiger, 20. August 2007


Musical Gems: Palace Concert with Helmut Müller-Brühl and the Cologne Chamber Orchestra

[...] The Concerto in G Major for violin and orchestra, KV 216, was then played by Ariadne Daskalakis, a spirited virtuoso whose intensity reverberated throughout the hall. She imbued the music with an exquisitely mellow sweetness, particularly in the slow movement, where the violin has the melody almost all to itself. [...]

Rhein-Erft-Rundschau, 13 June 2006

World Premier with the Bavarian Radio Symphony Orchestra under Sian Edwards

"Walter's 'Zeichnung' can be considered . . . a juxtapositioning of orchestra and a solo part. The solo violin (subtly played by Ariadne Daskalakis) is the focal point, embedded in the percussion and interwoven into the orchestra score."

Dorothea Husslein, Münchner Merkur, 14 June 2004

"The solo violin (Ariadne Daskalakis) and the four percussionists (Cologne Percussion Quartet) were woven as lyrical elements into the fabric of the orchestral movement and imbued this finely engraved 'Zeichnung' with contemplative qualities."

Rüdiger Schwarz, Abendzeitung München, 14 June 2004

Ariadne Daskalakis and the Potsdam Chamber Academy

"The program centred on Tartini's violin concerto in G Major. It was performed masterfully by the young Greek violinist Ariadne Daskalakis, who balanced the sonorities well with the full orchestra. With the acoustics of the concert hall (the Fürstensaal), every register of her violin carried without being shrill in any way, letting the solo part's many runs, double stops, and appogiaturas sparkle effortlessly. She rendered the Andante with great sensitivity and meditative warmth."

Nikolaus Frey, Fuldaer Zeitung, 7 April 2004

"(Daskalakis) executes the flourishing runs with immaculate intonation and stresses the recurring chords of the G Major concerto. Ariadne Daskalakis winds her way expertly through the challenging, virtuosic first and final movements. Especially in the cadenza-like passages... the soloist sparkles with her outstanding technical skills and facility. Daskalakis's sound aesthetic is clearly influenced by historical performance practice. With delicate, graceful sound she chisels her phrases clearly. Lyrical, voluptuous passages - as in Tartini's b minor Concerto - sound totally natural and clear. ...An interesting Rediscovery of Tartini's works in a flawless recording."

Antje Hintz, NDR (North German Radio), January 2006

Ariadne Daskalakis as Soloist and Leader of Ensemble Oriol Berlin
On April 19, 2002, in the Chamber Music Hall of the Berlin Philharmonie:

"Mozart was a consummate master at pulling every kind of trick conceivable. And he showed it in his violin concerto in A Major, KV 219, performed by Ensemble Oriol led by soloist Ariadne Daskalakis in the Chamber Music Hall of the Berlin Philharmonie. . . . Absolutely nothing obscured the clarity of her articulation and the consistency of her sound's beautiful, icy timbre. One sensed she was taking a stand against the marzipan Mozart of dime stores and souvenir shops."

Jan Brachmann, Berliner Zeitung, 22 April 2002

Ariadne Daskalakis and the Brünn Philharmonic Orchestra

Violin Concerto no. 5 by W. A. Mozart: "With her convincing artistic maturity, penetrating insight, and impeccable tone, [Ariadne Daskalakis] gave a first-class rendition, seconded by the ensemble's own flawless performance."

Coesfelder Nachrichten, 27 November 2001

Ariadne Daskalakis and the Stuttgart Philharmonic Orchestra under J.-P. Weigle

"Brahms a highlight"

"The first movement of his violin concerto became a homogeneous whole, uniting passion, intellect, and rapture. Ms. Daskalakis possesses the outstanding qualities of the 'diabolic violinist' called for by the frenzy of expression in the exposition and elsewhere. But she also gets the violin to 'sing' with beguiling beauty like the voice of an angel."

Delmenhorster Kurier, 15 September 2000

"As soloist in the Violin Concerto by Johannes Brahms, the renowned artist impressed especially with her attentiveness and care with double stops and with her impeccable technique in the extremely virtuosic cadenza of the first movement. After the singing moments of the Adagio... followed the famous Hungarian Rondo, where both the soloist and the orchestra sparkled with spirit."
Stefan Lewerenz, Delme Report, 17 September 2000

"The greatest performance was by the soloist, Ariadne Daskalakis, in the Brahms D-Major Concerto for Violin and Orchestra, op. 77. She executed the difficult passages masterfully, cutting an almost capricious figure in the front row next to conductor Jörg-Peter Weigle."

Delmenhorster Kreisblatt, 15 September 2000

Ariadne Daskalakis and the Radio Orchestra of Südwestdeutscher Rundfunk (SWR) under Michael Luig

"She took Wolfgang Amadeus Mozart's Concerto for Violin and Orchestra no. 3 in G Major, KV 216, and played it with heart and soul. Daskalakis's spirited performance charged the dialogue between soloist and orchestra with the wealth of Mozart's thoughts and emotional depth. She graciously offset the 'lack of virtuosity' in Mozart's score with a near-perfect rendition of the work. Her subtle treatment of the musical substance, her exquisite nuances, and her pure, focused tone made the concerto the highlight of the evening -- to thunderous applause."

MRZ, 29 August 2000

Ariadne Daskalakis and the Nordwestdeutsche Philharmonic Orchestra

"Playing with perfect technique on a wonderful instrument, the Greek violinist Ariadne Daskalakis gave a rousing artistic performance as the soloist [in Mendelssohn's Violin Concerto in E-Minor] with the Nordwestdeutsche Philharmonic orchestra."

Lippische Landeszeitung, May 2000



Baroque Music as an Experience: "Selva della Musica Köln" at "Tag des offenen Denkmals" in the Fürstensaal

[...] Ariadne Daskalakis highlighted the warm tone colours of her baroque violin, especially in the lower registers, and captivated the audience with her resonant double stops. The dialogue between the violin and the woodwinds was as light as a feather, with Daskalakis accentuating slightly more than her colleagues. [...]

Oberhessische Press, September 2006

Festival "Sound Encounters" in Boston - "Best of the season"

"Performances were top-shelf wonderful, among the best heard all season. Festival organizers Carol Rodland and Michael Norsworthy, joined by Ariadne Daskalakis, Scott Kluksdahl and Max Levinson, played as if their very lives depended on it. All aspects of execution - pitch, tone, technique, pacing, interpretation - were flawless, as were chamber interaction and blend."

(David Cleary, "new music connoisseur", June 2006)

Three Soloists Open the Four-day "Contours" Music Festival with Superb Concert

"Ariadne Daskalakis . . . chose Maurice Ravel's 'Tzigane' for her concert solo. She interpreted this Gypsy-inspired rhapsody with resounding mellowness, a highly evocative tone, and flawless technique."

Hanna Styrie, Rhein-Erft-Kreis Kurier, 5 January 2004

"With Artistic Sensitivity and Devotion" -- The Manon Quartet Berlin Opens the Cologne "Feste musicali" Series with Haydn's The Seven Last Words of the Redeemer on the Cross

"The first violinist was spellbinding in her ability to intone both sorrow and consolation, both desolation and a vision of imminent paradise. Her partners (Bernhard Forck, Sebastian Gottschick, and Anna Carewe) also distinguished themselves at every turn. The quartet took Haydn's dynamic extremes to heart, bringing out the light and shadows of the harmonies and showing how individual words become the essence of the music. Their depiction of the earthquake lacked nothing in the way of terror and tumult."

Emka Pirbauer, Kölner Stadt-Anzeiger, 22 April 2003

Ariadne Daskalakis and Miri Yampolsky In the Chamber Music Hall of the Berlin Philharmonie:

"Unsurpassed ensemble playing, whether they are executing a sudden entry or rendering a subtle line. . . . But perhaps the most beautiful of all is the restrained second movement [of Beethoven's 'Spring Sonata'], in which the wonderful interplay of individually shaped tempi weaves a fabric of precisely balanced lines, with all their hesitations, ideas, and questions. There is not a single empty phrase; everything is discourse. . . . Better chemistry between musicians would be hard to find. . . . With flawless technique in Gabriel Fauré's A-Major Sonata, the two women illustrate the composer's late-romantic world of sound, its soaring, fleeing, longing, trembling, and the inwardness of the Andante."

Berliner Zeitung, December 1999

"Impressive duo [Ariadne Daskalakis, Miri Yampolsky] sweeps away audience on a river of music. . . . It was also here [sonatas by Ravel and Fauré] that the duo showed off the kind of chemistry that practice alone can never achieve on its own. The two traded phrases back and forth with the subtlest of differences. . . . There was a superb crescendo in the final movement of the Fauré, particular, where the violinist, who was leading a chain of alternative phrases, finally gave her all."

The Globe and Mail Toronto, February 1999


Ariadne Daskalakis' latest CD is Heinrich Biber The Rosary Sonatas with Ensemble Vintage Koln, released on the BIS label.


Biber CDWith this release, Daskalakis propels herself into the front rank of historical violinists.



Benjamin Dunham – Early Music America


 Ariadne Daskalakis is a compelling advocate. On the one hand she enlivens Biber's illustratvie palette with bold, extrovert gestures, on the other she projects expressive tenderness as, for instance in the Adagio of the Nativity Sonata (No. 3).


 Nicholas Anderson, BBC Music Magazine, Demcember 2015



 - CD of the month in The Strad, January 2012:

"Daskalakis makes her violin sing eloquently in the slow movements...her athletic fingers zip through Handel's lively fast movements" - Robin Stowell, The Strad




-"[Daskalakis'] performance seems winningly energetic" - Robert Maxham, Fanfare, March 2012


-"Daskalakis takes their academic understanding of the scores and translate it into informed performances tahat glisten with vibrant, dynamic, effervescent playing" - Mike D. Brownell,, November 2011


-"Daskalakis' performances are far from bland...her left hand is very nimble, decoration added with such deft agility" - David Denton, October 2011



Ensemble Vintage Koln are Ariadne Daskalakis (violin), Rainer Zipperling (viola de gamba/cello) Gerald Hambitzer (harpsichord).


Recorded at Hessischer Rundfunk, Frankfurt am Main, Germany in 2009, released 2011.


CATALOGUE 8.572245



Ariadne Daskalakis' previous CD release is with pianist Miri Yampolsky and features the complete works for violin and piano by Lutoslawski. This CD is recorded on the Naxos label and also includes works by Szymanowski and Janacek.


“…I warm to the polish in the playing and dynamic drama and tensions between passion and restraint, songful lyricism, playfulness and fervour.”

“…newcomers need fear no lack in quality, either in performance or production, and can count on having struck chamber-music gold.”

Dominy Clements - MusicWeb International, April 2009

“Ariadne Daskalakis … draws a honeyed tone from her 1769 Guadagnini violin, subtly colouring the ecstatic moments ... Her playing is technically impeccable and has the necessary impact for Lutoslawski’s Partita…

David Denton – The Strad, July 2009

“The quirky Janáček comes over very nicely in this performance, moulding the whole convincingly structurally…” 

Guy Rickards – Gramophone, August 2009

"The ending, with its last few wisps of sound, is one of the most amazing things I have heard in ages. What a treat for the ears this album is!"

The American Record Guide, July 2009

LUTOSLAWSKI, W.: Violin Music (Complete)


JANACEK, L: Violin Sonata

Ariadne Daskalakis, Miri Yampolsky

CATALOGUE No: 8.570987 | EAN-CODE: 0747313098774

"Daskalakis brings to these works striking athleticism, musical insight, expressive embellishment and elegiac lyricism."

Robin Stowell – theStrad

"Ariadne Daskalakis winds her way expertly through the challenging, virtuosic first and final movements. Especially in the cadenza-like passages... the soloist sparkles with her outstanding technical skills and facility. ...Lyrical, voluptuous passages - as in Tartini's b minor Concerto - sound totally natural and clear. ...An interesting Rediscovery of Tartini's works in a flawless recording."

Antje Hintz, NDR (North German Radio), Januar 2006


This CD featured as the Naxos CD of the month on it’s release in Germany and, when released world wide, as the Concerto selection of the month in the June 2007 edition of "The Strad".

CATALOG NUMBER 8.551243 | EAN-CODE 4891030514324

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