Markus Groh

New York Philharmonic

 

Liszt’s first piano concerto and his tone poem Les Préludes may be guilty pleasures of a sort, but both offer sustenance…Mr. Groh, too, was substantial, offering the music’s bravura as well as the sensitivity.”

 

NEW YORK TIMES

 

 

Berlin Symphony

 

Groh plays straight, just as God and Brahms instruct him…..[he] now ranks at the top of the German tradition, a worthy heir to Backhaus, Edwin Fischer, Wilhelm Kempff.”

 

BERLINER MORGENPOST

 

 

Cinncinnati Symphony

 

[Groh] is the kind of artist who draws you in, not only for his personal magnetism – which he possesses – but also for his respect for the composer’s intentions. He played with clarity, singing tone and knew just when to project the right amount of drama. His phrasing in the slow movement was beautifully shaped, and the finale was irresistible [Beethoven Piano Concerto No. 2]. ”

 

CINCINNATI ENQUIRER

 

 

Grand Rapids Symphony

 

Groh appeared to hardly break a sweat even while pounding the instrument into submission [Liszt Totentanz], attacking phrases with relish, ending phrases and daring them to come back for more. His dark phrases, with little bits of light glimpsing through, smooth legatos and percussive staccatos in careful measure, all made for a performance that was as luminous as it was virtuosic. Friday's audience gave him a big, enthusiastic standing ovation.”

 

GRAND RAPIDS PRESS

 

 

Harrisburg Symphony

 

As soon as Groh started to play, it was a feat to behold [Brahms’s Piano Concerto No. 2].

 

THE PATRIOT-NEWS (Pennsylvania)

 

 

Washington Performing Arts Society

 

The program culminated, in every sense, with four Liszt pieces that showed Groh on his home turf. Liszt…is a good fit for a smart virtuoso such as Groh, who can do full justice to his probing, unorthodox mind and his finger-busting pianistic fireworks.

 

WASHINGTON POST

 

 

Brussels Philharmonic Orchestra

 

Markus Groh made an impressive soloist, his massive hands and fluent playing making light of Bartók’s demands and there was a notably close rapport with the orchestra [Piano Concerto No.3].”

 

CLASSICAL SOURCE (London)

 

 

Tucson Symphony Orchestra

 

Groh is an artist with a capital "a": technically proficient, passionately in tune with the score and not one to get caught up in showy displays. His fingers danced lightly over the keyboard like a ballet dancer, but the sound he produced was powerful and pronounced. He balanced out Bartók's bursts of dissonance with sublime reminders of the composer's intent to write a love song for his pianist wife in the months before he died [Bartok Concerto No.3].”

 

ARIZONA DAILY STAR