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In the Ligeti Concerto with CityMusic Cleveland
…she brought charismatic focus to the Herculean
demands.
— Donald Rosenberg, Cleveland Plain Dealer, May 7, 2008
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In Laura Elise Schwendinger’s “Chiaroscuro Azzurro” at Miller Theatre
…equal measures of energy and velvety richness…
— Allan Kozinn, The New York Times, March 31, 2008
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Performing the Weill concerto in Boston
…a consistently taut, gleaming tone and sharp focus…
— Matthew Guerrieri,
The Boston Globe, March 19, 2008
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With the Memphis Symphony Orchestra
Koh was magnificent, both controlled and passionate in bringing off passages
that were profoundly moving and challenging.
— Jon W. Sparks, The Commercial Appeal,
October 29, 2007
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the Review…
With the Annapolis Symphony Orchestra
…Koh's white-hot imagination and her focused, sweet-toned
playing made this a performance to remember.
— Andrew Lindemann Malone, The Washington Post, May 7, 2007
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the Review…
In the world premiere of Charles Wuorinen's Violin Concerto
…Ms. Koh had no difficulty communicating this vibrant
piece…
— Anne Midgette, The New York Times, April 17, 2007
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the Review…
With Rossen Milanov and the Honolulu Symphony
Her romantic, passionate approach does not take away from
precision and depth.
— Valeria Wenderoth, Honolulu Star-Bulletin, March 18, 2007
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the Review…
…wild, passionate, unique, personal, intimate.
— Ruth Bingham, Honolulu Advertiser, March 18, 2007
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the Review…
With Reiko Uchida in Columbus
No matter how complex the phrase, her technique never
overwhelms the composer's voice, and she never becomes self-conscious.
— Lynn Green, Columbus Dispatch, March 5, 2007
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the Review…
Ligeti Concerto with Orchestra 2001 in Philadephia
…the orchestra laid out the concerto with so much clarity and drama
that you could easily assemble the pieces according to your own consciousness
on that day, aided by the remarkable soloist Jennifer Koh.
— David Patrick Stearns, Philadelphia Inquirer,
February 26, 2007
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the Review…
With Reiko Uchida at the 92nd Street Y
Ms. Koh and Ms. Uchida seem always to be of one mind about the works at
hand, and the interaction between them has an enlivening vibrancy.
— Allan Kozinn, The New York Times, February 17, 2007
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the Review…
With Reiko Uchida in San Francisco
The first striking thing about this duo is their uncanny
precision of ensemble.
— Jerry Kuderna, San Francisco Classical Voice,
January 16, 2007
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the Review…
…it was the contemporary music that brought out
Koh's most invigorating performances, and marked her as a musician with a
distinctive contribution to make in this arena.
— Joshua Kosman, San Francisco Chronicle, January 15, 2007
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the Review…
With Jaime Laredo and the New York String Orchestra
…Ms. Koh and Mr. Laredo played the serene
dialogue with a meltingly beautiful sound.
— Allan Kozinn, The New York Times, December 26, 2006
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the Review…
Higdon's String Poetic with Reiko Uchida in Philadelphia
…she created four hugely different musical worlds
corresponding to the demands of each of the movements.
— David Patrick Stearn, The Philadelphia Inquirer, October 23,
2006
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the Review…
Szymanowski Violin Concerto No. 1 with the Oregon Symphony and Carlos Kalmar
"The intense Koh seemed entranced as she traversed the
piece…"
— The Oregonian, October 16, 2006
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the Review…
With the New York Philharmonic
…fiery, rhapsodic playing…
— Vivien Schweitzer, The New York Times, July 15, 2006
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the Review…
The Ligeti Violin Concerto at the Miller Theater
Allan Kozinn, The New York Times,
November 14, 2005
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the Review…
"Koh played the Gypsy lament of the Aria section with searing expressiveness."
— Bradley Bambarger, New Jersey Star-Ledger,
November 14, 2005
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With the Honolulu Symphony Orchestra
Violinist Koh simply dazzling
— Valeria Wenderoth, Honolulu Star-Bulletin,
October 23, 2005
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the review…
At the Hollywood Bowl with the Los Angeles Philharmonic
"Koh… took big
rhapsodic chances in the [Tchaikovsky] Violin Concerto, shifting tempos
and pouring on the intensity… the audience couldn't contain itself…"
— Richard S. Ginell, Los Angeles Times,
July 25, 2005
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the review…
In Chicago with the Grant Park Orchestra
“In Martinu's lush Violin Concerto No. 2 and the first of Bartok's "Two
Portraits,'' the hair-trigger responsiveness between Kalmar and the orchestra
stretched to include violin soloist Jennifer Koh… Koh elicits a succulent,
but cleanly drawn, singing line from her prized 18th century violin. She
brought tensile strength to every fiery twist of Bartok's cadenzas, but the
tender, pastoral dance of the Martinu concerto's slow movement sounded heartfelt
and fresh.”
—
Wynne
Delacoma, Chicago Sun-Times, July 4, 2005
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the review…
In recital at New York City’s Metropolitan Museum of Art
with pianist
Reiko Uchida:
“In John Adams’s “Road Movies” (1995)
they easily met the work’s immediate technical challenge — keeping
the insistent rhythms vital and fresh — but they also found ways to
make this sometimes motoric piece seem supple. Ms. Koh also offered a gripping
performance of Eka-Pekka Salonen’s “Lachen Verlernt” (2002),
a piece that begins with a songlike simplicity but gradually becomes a study
in full-throttle virtuosity. Between the Adams and the Salonen works,
Ms. Koh and Ms. Uchida played Ravel’s Sonata in G with a combination
of Gallic sensuality and American flexibility. In the central Blues movement,
Ms. Koh’s
bent pitches and throaty tone color were exactly what the score needs: Stephane
Grappelli couldn’t have made it sound more bluesy.”
—Allan
Kozinn of The New York Times, April 30, 2005
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the review…
In recital at San Francisco Performances
“Koh and her pianist partner Reiko Uchida presented
a fascinating display of musicianship and sheer class while avoiding standardized
programming clichés… Chicago-born Koh has become one of the bright
spots on the American music scene. Not only does she play so well and with
such sensibility to individual style, but she also obviously possesses a
superior sense of mission as well as the intellectual equipment to match
her dexterity…Koh clearly knows style to a fine degree.
The Koh performance
(of Waxman's Carmen Fantasy) was a jaw dropper, flawless in every detail.
The woman knows no fear. She tore into that thing with all the appearance
of someone merely playing “Come to Jesus” in whole
notes.”
— Heuwell Tircuit of San Francisco Classical Voice,
January 23, 2005
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the review…
With the Singapore Symphony Orchestra in Singapore
“Koh handled her instrument — and the piece (Carl
Nielsen’s
Violin Concerto) — brilliantly. Her opening phrases were delivered
commandingly, with poise, accuracy and a beautifully judged vibrato… It
was, however, in the final Rondo that she stamped her class. Articulation,
intonation and a driving rhythm were all there in abundance. It was a superlative
performance.”
— Mervin Beng, The Straits Times, February 1, 2005
In Chicago with the Grant Park Orchestra (2004)
“Karol Szymanowski's First Violin Concerto with
soloist Jennifer Koh moved in and out of transcendent, otherworldly realms.
Koh, a Chicago area native, has possessed a distinct musical voice since
she was a teenager winning prizes that included a silver medal at the prestigious
Tchaikovsky Competition in Moscow in 1994 and an Avery Fisher Career Grant.
Thursday night her performance offered the best kind of sophistication, a
blend of fluid technique, thoughtful intensity and sweetness of tone that
shed light on even the darkest corners of Symanowski's poetic fantasy.
The concerto is a single-movement outpouring, and Koh's luminous, focused
violin floated like an inextinguishable star above the orchestra. In the
midst of Szymanowski's overall romanticism, the cadenza transported us abruptly
to harsher realms. Koh tore into its short-breathed phrases, flinging their
brutal, whistling tails through the air like a whip. Even at its most rhapsodic,
the performance had sinew and a clear sense of shape. Kalmar and Koh reached
for the heights but kept a firm grasp on the concerto's underlying architecture. “
—
Wynne Delacoma, Chicago Sun-Times, July 3, 2004
With the Wisconsin Chamber Orchestra
There was a moment during the “Larghetto,” the
second movement of Beethoven’s “Violin Concerto in D Major, Op.
61,” when violinist Jennifer Koh reached beyond what was humanly possible
and into an entirely new performance realm… her superb performance… brought
the house to its feet”
— Capital Times (Madison), March 20, 2004
Jennifer Koh proved Friday night in Madison — as
if she had to — that she is a top quality, world-class violinist… The
performance was, in short, entrancing. It would seem silly to call Koh an
emerging young artist; she certainly has arrived.
—
John Aehl, Wisconsin State Journal (Madison, WI) March 20, 2004
In recital at New York’s Town Hall
Her (Ms. Koh’s) playing was fiery and impassioned,
most of all in Ysaye’s Sonata No. 4, where she routinely pushed notes
almost to their breaking point in a way that sent the pulse racing. The
sonata was written in the early 20th century, but in her hands it felt thrillingly
modern.
— Jeremy Eichler, The New York Times, January
20, 2004
Jennifer Koh at the Blossom Festival
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"The debutante Saturday was Gian Carlo Menotti's
Violin Concerto, a 1952 work that violinist Jennifer Koh has been championing
since she recorded it several years ago with the Spoleto Festival Orchestra
and Richard Hickox on the Chandos label. Her Blossom performance provided
a gorgeous introduction to a piece steeped in Romantic tradition and thoroughly
removed from the avant-garde learnings of the mid-20th century.
"Koh applied fragrant sweetness to the poetic writing and fierce vigor
to Menotti's dramatic statements. Her tone projected clearly and soaringly
into the cool night air, partly because of the 1727 Stradivarius she has played
for six years."
—
Donald Rosenberg, Cleveland Plain Dealer, August 25, 2003
"Violinist Jennifer Koh, making her Cleveland Orchestra
debut, sounded perfectly integrated into the orchestral fabric. Koh chose
the Violin Concerto of Gian Carlo Menotti for her debut, and she couldn't
have picked a better vehicle to show off her considerable powers of musicianship
and persuasion.
"She is a gung-ho advocate for this work of mid-20th century romanticism.
Koh's suave technique and alert musicianship helped her put across the lyricism
that is always present in the work and also let it sound utterly fresh.
"It was terrific to hear such a strong, intelligent personality from someone
in the 20-
something generation of violinists. Koh belongs on a short list of soloists
to invite back
soon."
— Elaine Guregian, Ohio Beacon-Journal, August 24,
2003
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