Instrumentalist - Cello
Acclaim
 
"Carr performed something that is not often heard in Hong Kong - an entire cello recital of solo Bach. The sweeping opening from the Prelude of the third Suite in C major filled City Hall Concert Hall with Carr's beautiful sound and instantly drew the audience in. It was immediately apparent that this was no ordinary Bach playing, but an original and highly personal interpretation. The phrases melted into each other with an inevitable momentum that never became bogged down or self-inflated with each individual phrase or motive." Read More...
Jessica Bruser, Time Out Hong Kong
"Mr. Carr and Mr. Sauer clearly meant listeners to trace that arc. They performed the sonatas chronologically, and they subtly altered their pleasingly unified interpretive approach to account for the broadening of Beethoven's sensibility. The Sonatas in F and G minor (Op. 5, Nos. 1 and 2) exemplify the balance of stately formality and playfulness that animates so many of the early scores Beethoven wrote to impress prospective patrons. Mr. Carr and Mr. Sauer made them a bit more than that, focusing on moments of particular finesse to highlight the inventiveness of a transition or the rightness of a turn of phrase. And Mr. Carr painted his lines with a cello tone that varied from astringent to sumptuous, as the phrase demanded." Read More...
Allan Kozinn, New York Times
"Salt Lake audiences were fortunate to be able to enjoy the complete cycle once again within a few years when cellist Colin Carr and pianist Thomas Sauer played them last week in Libby Gardner Concert Hall. Carr and Sauer have spent this season immersing themselves in these wondrous works, performing the complete cycle in several cities across the country. That proximity to the music was clearly evident in their Salt Lake performance. They brought amazing insight into the music and a profound understanding of the intricacies of the works, dazzling and mesmerizing their audience right from the start." Read More...
Edward Reichel, Deseret Morning News
"Explaining why he finds the cello sonatas so satisfying, Carr said the answer lies in the details. 'If one attends to the details in each of the works, it gives back to you. It's so amazingly rewarding.'" Read More...
Edward Reichel, Deseret Morning News
"Although Carr has played Beethoven's cello sonatas and themes-and-variations for much of his life, juxtaposing them in this way brought fresh insights." Read More...
Celia R. Baker, Salt Lake Tribune
"Carr's febrile, juicy pizzicatos paired with Emerson cellist David Finckel's noble eloquence acted as pivot for the entire work. A triumphant finale, joyfully delivered." Read More...
This is Aberdeen (UK)
"Violinists Philip Setzer and Eugene Drucker, violists Lawrence Dutton and Paul Neubauer, and cellists David Finckel and Colin Carr played to a passionate and concentrated perfection." Read More...
Geraldine Freedman, Schenectady Daily Gazette
"With a fluid attack on Schumann's score, Carr kept up his end of the musical dialog, and the orchestra responded to his passion." Read More...
Richard LeComte, Tuscalooga News
"Carr's velvety tone is a delight in itself, and his music making is no less satisfying."
Strad Magazine
"Messrs. Carr and Sauer gave a breathy performance marked by firm, limber textures, bright colors, and rhythmic verve worthy of the finest chamber music halls in New York. Mr. Carr ... has a manner with the cello that fits the instrument's role in music: He plays in a patriarchal way, treating his instrument as if it were an impetuous child - sometimes in need of authoritative taming, sometimes requiring freedom to run and jump. His sound is potent and earthy, his vibrato mimics a spirited natural singer in its trembling. His clear, lithe tones work all the better when matched with even, round-tipped articulations."
New York Sun
"Colin Carr is a musician who reaches deeply inside the music and uses his instrument to deliver surprising discoveries ... every phrase was pointed and full of musical life..."
Washington Post
The Cello Sonata, for which Mr. Sauer was joined by Colin Carr, was more democratic. As fine as Mr. Sauer's playing was here - and there were some remarkably crystalline textures in the closing Allegro vivace - it never fully stole the attention from Mr. Carr's magnificently deep, rich tone. Still, this was a collaboration, not a duel, and when they were at their best, probably in the Scherzo, Mr. Carr and Mr. Sauer made the music sing with an almost Schubertian lilt while preserving its purely Beethovenian muscularity. Read More...
Allan Kozinn, New York Times
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