ElisabethBrauß

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Piano
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News

  • 24 June 2021

    Elisabeth Brauß receives The Terence Judd-Hallé Award

    Read full article

Press

  • Australia Musica Viva Tour with Noa Wildschut

    Australia
    Nov 2023 - Apr 2024

    • Noa Wildschut and Elisabeth Brauss are a near perfect combination, and a fine example of how acute communication skills are at the heart of successful ensemble playing.

    • ...they are a supremely talented duo with a rare combination of energy and artistry. They also have great chemistry and an almost telepathic musical understanding of each other.

    • Leading international soloist Elisabeth Brauss joined Wildschut on stage, partnering her with supreme musicality, technique, intelligence and adaptability.

    • Wildschut and Bruass’ refined and thoughtful phrasing was mesmerising as the long, asymmetric passages were effortlessly weaved in between the two parts in a magical dialogue.

    • Though both are still in their twenties and have achieved impressive individual accolades, it is the partnering of Dutch violinist Wildschut and German pianist Brauss that has been hailed as one of the most exciting musical partnerships heard in years.

  • Bacewicz: Piano Concerto etc. - Finnish Radio Symphony Orchestra

    Album Review
    Jun 2023

  • Bacewicz Concerto for Two Pianos - Finnish Radio Symphony Orchestra

    Album Review
    Jun 2023

  • Grieg Piano Concerto - Hallé Orchestra

    The Bridgewater Hall, Manchester
    Jan 2023

    • Brauss’s way with the meditative reverie of the second movement was spellbinding. Holding a hushed atmosphere is clearly one of her gifts, and her encore played to that strength

  • Duo Recital with Simon Höfele - Pilss, Savard, Ravel & Gershwin

    K3N - Stadthalle Nürtingen
    Nov 2023

    • Pilss Trumpet Sonata (2nd Mov): Das Weiterreichen von Motiven in Frage-Antowrt-Manier spiegelt ein Gespräch zwischen zwei Menschen wider, die sich verstehen. Im Allegro agitato entfaltet die Pianistin Elisabeth Brauss orchestrale Pracht mit zupackenden Handen, um dann federleicht und scheinbar mühelos in rasende 32stel-Läufe überzugehen.” Passing on motifs in question-and-answer fashion reflects a conversation between two people who understand each other. In the Allegro agitato, the pianist Elisabeth Brauss unfolds orchestral splendour with gripping hands, then transitioning, as light as a feather and apparently effortlessly, into frenzied 32nd notes. Ravel: Sonatine Elisabeth Brauss atmet mit ihrem Klavier, sie liebt ihr Instrument, sanft und traumwandelnd streicht sie über die Tasten. Welch ein Hörerlebnis! Alles ist Klang, leise rieselndes Rauschen lässt Klang-wolken entsehen, pastose Durchsichtigkeit und exotische Tonfolgen verzaubern. Mit verschqimmenden modernen Akkorden und wechselnden Klangfarben malt die Kunstlerin ein Impressionistisches Gemälde, man as soziiert Bilder von Claude Monet. Elisabeth Brauss breathes with her piano, she loves her instrument, she strokes the keys gently and dreamily. What a listening experience! Everything is sound, gently trickling noise lets clouds of sound emerge, impasto transparency and exotic tone sequences enchant. With fading modern chords and changing timbres, the artist paints an impressionist painting, one associated with pictures by Claude Monet.

  • Recital: Beethoven, Mendelssohn & Prokofiev

    Wigmore Hall
    Oct 2023

    • Brauß brought an aura of serious intent but pleasurable delight in the music she presented to a live audience. [Beethoven’s Piano Sonata No. 7:] Brauß’ approach was brisk, her touch fresh and bright in a spirited performance of the first movement that honored the composer’s classical roots as well as his journey into uncharted musical waters. […] Brauß’ technical facility was evident in the Mendelssohn Variations Sérieuses [...] The artist found a distinct character in each variation, and quickly, though smoothly, shifted from one mood to the next, concluding the set with the softest touch. Linda Holt, Bach Track, 12 Oct 20 [Beethoven's Piano Sonata No. 7:] "Taking the first movement at a proper Presto (as marked) yet with real attention to detail (fizzing sforzati, lovely voice-leading, perfectly firm bass) this performance was never less than fascinating. Opting for a restrained dynamic level for the recapitulation’s opening yet retaining the exact same placement of the final bare octaves A natural was an eyebrow-raising moment: Brauss is clearly unafraid to make a statement. Her marriage of musicality, technique, and intelligence is rare.