Michael Barenboim
Violin

“As exciting a first appearance by an instrumental soloist as I can recall in years.." (Andrew Patner, Chicago Sun Times, on Michael Barenboim's debut with the Chicago Symphony” Orchestra, March 2013)

Contacts

Jasper Parrott +44 (0)20 7229 9166
Maxim Belčikov +44 (0)20 3725 9143
Amy Louden +44 (0)20 3725 9101

Biography

Michael Barenboim lets music, in its diverse and enduring ways, speak for itself through his violin. Deeply invested in contemporary music, Barenboim celebrates a long history of collaboration with the late Pierre Boulez. He regularly performs his pieces in recital and recently recorded both Anthèmes 1 and 2 for a new recording to be released this season by Accentus.

His 2016/17 season brings him further international debuts, including Gürzenich-Orchester Köln, for the orchestra’s season opening concert, BBC Philharmonic and Philharmonia orchestras and Orchestre Philharmonique du Luxembourg, as well as returns to Komische Oper Berlin, Deutsche Staatsphilharmonie Rheinland-Pfalz and Orchestre Philharmonique de Nice. While on tour in Asia, he performs in concert with the Shanghai and Guangzhou symphony orchestras and makes his recital debut in Tokyo, at the Musashino Cultural Foundation. With the Boulez Ensemble, he also performs at New York’s Carnegie Hall; in Berlin, for the opening of the Boulez Saal; and at the Wiener Konzerthaus.

Michael Barenboim lets music, in its diverse and enduring ways, speak for itself through his violin. Deeply invested in contemporary music, Barenboim celebrates a long history of collaboration with the late Pierre Boulez. He regularly performs his pieces in recital and recently recorded both Anthèmes 1 and 2 for a new recording to be released this season by Accentus.

His 2016/17 season brings him further international debuts, including Gürzenich-Orchester Köln, for the orchestra’s season opening concert, BBC Philharmonic and Philharmonia orchestras and Orchestre Philharmonique du Luxembourg, as well as returns to Komische Oper Berlin, Deutsche Staatsphilharmonie Rheinland-Pfalz and Orchestre Philharmonique de Nice. While on tour in Asia, he performs in concert with the Shanghai and Guangzhou symphony orchestras and makes his recital debut in Tokyo, at the Musashino Cultural Foundation. With the Boulez Ensemble, he also performs at New York’s Carnegie Hall; in Berlin, for the opening of the Boulez Saal; and at the Wiener Konzerthaus.

Chamber music is also an important focus for Barenboim. He is a founding member of the Erlenbusch Quartet and a frequent guest at such festivals as Rheingau Musik, Beethovenfest Bonn, Lucerne, Jerusalem and Verbier. Barenboim performs more regularly this season with his pianist mother Elena Bashkirova and cellist Julian Steckel, appearing together at Munich’s Herkulessaal der Residenz, Brussel’s Palais des Beaux Arts, Paris’ Cité de la Musique and the Lucerne Festival.

Parallel to his solo concert and recital performances, Barenboim also serves as concertmaster with the West-Eastern Divan Orchestra and cultivates a continuous and strong involvement in educational activities. He regularly coaches chamber music in the newly founded Barenboim-Said Academy and has given masterclasses in Spain, Australia and New Zealand.

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Contacts

Jasper Parrott +44 (0)20 7229 9166
Maxim Belčikov +44 (0)20 3725 9143
Amy Louden +44 (0)20 3725 9101

Reviews

“If you weren't in the town hall, or listening to the RNZ Concert relay, then you missed one of the highlights of the concert year. This 1936 score received the Viennese affection that it needs from soloist Michael Barenboim. Playing from memory - a feat in itself - he brought out the Brahmsian yearning, especially in the Andante grazioso yet, in virtuoso outbursts, fearlessly spun his quivering filigree through orchestral textures.” (New Zealand Herald, April 2016)

“Barenboim’s control of it [Schoenberg violin concerto] was marvelous to watch ... He really showed us a lot that was going on under the bonnet of this sometimes quite inscrutable work and to me he brought out the feeling in it.” (Radio New Zealand, April 2016)

“Michael Barenboim’s Adelaide (and Australian solo) debut at the glorious Ngeringa Cultural Centre will long linger in the memory of those who made the trek for a quite remarkable afternoon of music making. And the making was entirely Barenboim’s own, an enormous and demanding program for solo violin ... Barenboim is a true master.” (Adelaide Now, April 2016)

“If you weren't in the town hall, or listening to the RNZ Concert relay, then you missed one of the highlights of the concert year. This 1936 score received the Viennese affection that it needs from soloist Michael Barenboim. Playing from memory - a feat in itself - he brought out the Brahmsian yearning, especially in the Andante grazioso yet, in virtuoso outbursts, fearlessly spun his quivering filigree through orchestral textures.” (New Zealand Herald, April 2016)

“Barenboim’s control of it [Schoenberg violin concerto] was marvelous to watch ... He really showed us a lot that was going on under the bonnet of this sometimes quite inscrutable work and to me he brought out the feeling in it.” (Radio New Zealand, April 2016)

“Michael Barenboim’s Adelaide (and Australian solo) debut at the glorious Ngeringa Cultural Centre will long linger in the memory of those who made the trek for a quite remarkable afternoon of music making. And the making was entirely Barenboim’s own, an enormous and demanding program for solo violin ... Barenboim is a true master.” (Adelaide Now, April 2016)

“..this is a violinist that this reviewer believes is destined to rank alongside the likes of Itzhak Perlman and Pinchas Zukerman. His gorgeous, burnished tone is supported by a seemingly effortless bowing arm, spot-on fingering and an intelligent instinct for nuance. Like both of those musical giants he is unfussy, eschewing effects and mannerisms for the clarity of the musical message, and he brings to bear an understanding and expressive depth to his material.” (Limelight, April 2016)

“He was the soloist in Mozart’s Violin Concerto No.4, which combined technical precision and a breezy sweetness to exhilarating effect, with Barenboim playing the hire-wire act with two vertiginous solos. Fizzy, lush and confident, it was a quintessential Mozart performance.” (Alex Needham, The Guardian, February 2014)

“He made the gnarled lyricism and awkwardly written cadenzas [of Schoenberg's Violin Concerto] sound absurdly easy to play, varying his bow pressure to suit the varying intensities of the music. You could read his deep emotional engagement in his playing even though his facial expression remained impassive. After so stunning a performance, who could blame the audience for erupting in cheers?” (John von Rhein, Chicago Tribune, March 2013)

“…as exciting a first appearance by an instrumental soloist as I can recall in years when Michael Barenboim, 27, was the soloist in the fiendishly challenging and lushly romantic Schoenberg Violin Concerto… He wholly carried the sharp rhythms, tough harmonics and tantalizing blend of logic and unpredictability of the part. Barenboim was called back for a rare fourth curtain call. He deserved it.” (Andrew Patner, Chicago Sun Times, March 2013)

Discography

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