Dimitri Ashkenazy
Clarinet

“Dimitri Ashkenazy is an individual and captivating artist. His clarinet can sing gently, he shapes the phrases lovingly: just as one likes to hear.” (tz)

Contacts

Jasper Parrott +44 (0)20 7229 9166
Amy Charlton +44 (0)20 3725 9125

Biography

Clarinettist Dimitri Ashkenazy performs widely as both soloist and chamber musician. He has appeared with such orchestras the Royal Philharmonic Orchestra, the Deutsches Symphonie-Orchester Berlin (at Hollywood Bowl), at the Sydney Opera House with the SBS Youth Orchestra, at the Casals Festival in Puerto Rico with the Czech Philharmonic Orchestra and in Japan with the Japan Philharmonic, Tokyo Metropolitan Symphony and Mito Chamber Orchestras. An active chamber musician, he has performed with the Kodály and Faust Quartets and with partners such as Barbara Bonney, Antonio Meneses, Cristina Ortiz, Maria João Pires and Vladimir Ashkenazy.

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Clarinettist Dimitri Ashkenazy performs widely as both soloist and chamber musician. He has appeared with such orchestras the Royal Philharmonic Orchestra, the Deutsches Symphonie-Orchester Berlin (at Hollywood Bowl), at the Sydney Opera House with the SBS Youth Orchestra, at the Casals Festival in Puerto Rico with the Czech Philharmonic Orchestra and in Japan with the Japan Philharmonic, Tokyo Metropolitan Symphony and Mito Chamber Orchestras. An active chamber musician, he has performed with the Kodály and Faust Quartets and with partners such as Barbara Bonney, Antonio Meneses, Cristina Ortiz, Maria João Pires and Vladimir Ashkenazy. Dimitri Ashkenazy has made numerous CD, radio and television recordings, and been invited to give master classes throughout Europe and in Japan, Australia and the USA. Engagements in the 2013-14 season include concerts in Germany, Japan, Italy, Turkey, Switzerland, Spain, the Czech Republic and Thailand.

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Contacts

Jasper Parrott +44 (0)20 7229 9166
Amy Charlton +44 (0)20 3725 9125

Reviews

“He surprised us from the first phrase of Aaron Copland’s Clarinet Concerto with wonderfully sensitive and songlike expression. In the second movement he transformed himself into a jazzman, with siren-like howls which worked well in this piece, composed in 1949 for Benny Goodman.” (Muenchner Abendzeitung, February 2010)

“He surprised us from the first phrase of Aaron Copland’s Clarinet Concerto with wonderfully sensitive and songlike expression. In the second movement he transformed himself into a jazzman, with siren-like howls which worked well in this piece, composed in 1949 for Benny Goodman.” (Muenchner Abendzeitung, February 2010)