Instrumentalist - Cello
Acclaim
 
"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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