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Berenice Christin Terwey

 

"El dulce Stradivarius de Berenice Terwey:

Cuando un voluptuoso escalofrío recorre la espalda del oyente que escucha una interpretación muy bella, es porque coinciden tres premisas esenciales: primero, el oyente es accesible a la buena música; segundo, la composición es accesible al oyente; y, tercero, los ejecutantes tienen la brillantez necesaria para despertar la emoción adecuada … El concierto para violín de Mendelssohn, rebosante de energía. La solista a cargo de esta pieza prodigiosa fue Berenice Tewey, una joven y extraordinaria violinista que tiene cautivados por igual al público y a la crítica. Sus recitales, que la han llevado ya alrededor del mundo, son una prueba palmaria de su talento. Las audiencias quedan convencidas de tener ante sí a una de las violinistas más prometedoras e interesantes de la nueva generación. La intérprete demuestra estar a la altura de su Stradivarius con su estilo depurado, sensible y rico en modulaciones. En ciertos pasajes se diría que huye vertiginosamente; en otros, desliza el arco con mano firme y serena. Pero su mayor virtud se revela en los pasajes sensibles, en las notas blandas. Terwey es una virtuosa del sonido tenue. Algunas pausas se prolongaron deliciosamente, en especial en el andante que siguió al sublime primer movimiento inicial. Ciertos pasajes del andante calaron muy hondo en el alma del oyente sensible. Berenice Terwey acometió luego el allegro final con energía, cautivando nuevamente al público con este movimiento. La concatenación fue perfecta: la simbiosis entre la solista y la orquesta llegó a su punto culminante y las notas graves del Stradivarius, que habían estrenado de forma tan distinta el primer movimiento con la aspereza inimitable de sus notas graves, se mezclaron con el brillo deslumbrante de los agudos, dibujando una presencia cautivadora en grado sumo. La violinista volvió a lucir su talento al ofrecer el bis (Paganini Caprice) … No en vano se decía que el compositor "tenía un pacto con el diablo" al sacarle sonidos a su violín como si estuviese tocando dos o más al mismo tiempo. Berenice Terwey reveló además su nobleza de carácter al desprender una flor del ramo que le habían obsequiado para dársela al primer violín, una mujer: fue un gesto de auténtica grandeza."

Lippische Landeszeitung, Kultur, R. Kelmeyer, 2005  

 

"La violinista electrizó a los amigos de musica con una interpretación sobresaliente de Mendelssohn, "el Mozart del siglo XIX" … El público manifestó con un aplauso largo y estruendoso su contento por una ejecución tan plena de elegancia, intimidad y dominio soberano. La virtuosa "demoníaca" ofreció luego un brillante Capriccio pleno de magia técnica que el precursor de todos los violinistas compusiera a la medida de sus dedos ultrarrápidos y precisos desafiando todas las leyes biofísicas en un arranque demencial. La pieza obliga a deslizar los dedos a toda velocidad, incluso sobre doble cuerda, sin pifiar ni uno de los cuatro tonos, o a salvar con ellos grandes distancias hasta dar con la nota justa con una precisión de milímetros. Berenice Terwey venció esas dificultades con una sonrisa en los labios."

Kultur-Journal Stuttgart, L.Schwane, 2005

 

"…La interpretación del Concierto para Violín de Dvorak …se había encomendado a la joven violinista Berenice Terwey. La instrumentista quitó relieve al elemento heroico y rebelde sin desvirtuar en ningún instante la música de Dvorak y desvelando en cambio de forma impresionante el gran papel que desempeña el elemento cantable en esta composición. La orquesta se adaptó con sensibilidad a ese estilo natural y poético tan refrescante y el público premió a los intérpretes con aplausos entusiastas…" NZ 2003  

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

?A supremely accomplished performance!


? Berenice Terwey performed the violin concerto by Tchaikovsky with an elegant freshness far removed
from the overdrive that often mars this piece.
Where others tend towards pathos, she offered the audience a sensitive Canzonetta of unforced expressiveness. The Finale, at once brilliant and delightful free of bombast, was adorned with playful touches... A supremely accomplished performance!?

Eindhovener Dagblad 2006
 

?An evening full of expressive nuances"


?Terwey handled convincingly the rhapsodic character of Dvorak's violin concerto conveying the charm and gaiety of the composer's inspiration.

She performed the central peaceful Adagio with its broad cantabile with intelligence and musicality, and much expressive nuances, particularly when in dialogue with the orchestra and when spinning her poetic arabesques in the reprise. In the finale, she gave an irresistible freshness and rusticity to its furiant cross-rhythms and imbuing its Dumka-like episode with appropriate melancholy.

Sächsische Zeitung
 

?Terwey- a particular highlight


? A particular highlight of this evening was the appearance of the soloist, Berenice Terwey. Bruch's concerto no1 sounded sensitively painted as if it had just been written. She played the melodies with infinite care giving Bruch's  easygoing lyricism a seductively warm glow.?
Die Woche (Hamburg) 2006

"? The Terwey sisters have everything: high-class musical talent, a brilliant technique, a marvellous homogeneous singing tone which reminds the voice, over and above that sense of style with which they presented the character of composers from three centuries (Mozart, Brahms, Ravel and Messiaen), and the temperament of outstanding musicians.? A magnificent success and a sound experience that is not so easy to forget."
Dresdner Neueste Nachrichten 2006

The Gracious Stradivarius of Berenice Christin Terwey: Whenever a wonderful shiver is sent down the listener's back because the music is so beautiful, three factors have to flow together in perfect harmony: firstly the listener simply has to be receptive to such exquisite music, secondly the composition's melody must be sufficiently catchy and thirdly it is most imperative that the musicians performing the piece are equally brilliant in order to allow personal and individual emotions to be aroused….

The violin concerto of Felix Mendelssohn is infused with endless energy. The soloist of this wonderful composition was none other than Berenice Christin Terwey, an extraordinary young violinist who has succeeded in casting her magical spell over audiences and critics alike. Her performances, which she has already carried out on an international level all over the world, attest to her unique talent and they also leave no doubt in the minds of her audiences that she really does count as one of the most promising and most interesting violinists of the up-and coming generation.

When she plays, this violinist proves herself to be worthy of such a classic instrument – with her musical style being technically good, very fluid and modulated. At some stages she almost appears to be in flight, other passages show her directing the bow with an iron hand. But her true greatness can be found in the emotional passages amidst the soft and gentle tones. Terwey is a master of the richly quiet timbre. Many lulls were savoured to the full for quite a time too - particularly after the marvellous first movement - in the following one with its andante character. Here passages were witnessed which swiftly found their way into the innermost caverns of every receptive listener's soul. The concluding allegro passage was approached with the appropriate burst of energy. Also during this movement Terwey held her audience in raptures. Differing shades of music overlapped each other and it was at this point that the symbiosis experienced between the soloist and the orchestra almost became visible and even tangible. The musical result was that the uniquely austere depths of her Stradivarius, which had opened the first movement so differently, were now married together with the splendid radiance of the top notes found in the second movement to create a captivating presence throughout.

During the encore, the violinist once more demonstrated her enormous skill and talent – and not without good cause was a maestro often considered to be “a fiddler of the devil” if he were able to create the impression that his one instrument sounded as if it were performing in a group of two or more violins. And, in addition, Terwey showed the stuff of which she is made when she presented the first violinist with a flower picked from her congratulatory bouquet – such a gesture undoubtedly shows real character.
Lippische Landeszeitung, Kultur, R. Kelmeyer, 2005


Terwey succeeded in captivating all the music lovers with an exceptional interpretation of Mendelssohn, “the Mozart of the 19th century.” The audience showed its appreciation of this rendering with resounding applause, the volume of which could only be equalled by its duration! The listeners had clearly delighted in this vivid, musical interpretation, mirroring elegance, tenderness and which was presented with a single-mindedness and certitude reminiscent of a somnambulist. And then came a capriccio – which “the devil's fiddler” quickly added almost as an afterthought to her programme, a brilliant piece performed with such musical skill and rich in magical tricks, conjured up by the King of all violinists out of his quick-as-a-flash fingers in a truly mad style and defying all biophysical laws. With such a piece, it does not suffice to fly like the wind over the strings but this type of music demands the violinist to slide over his instrument's strings, playing double chords while at the same time not blurring any one of the four tones. It is also de rigueur to jump over “long distances” and to hit the desired spot with utmost precision and accuracy. For Berenice Christin Terwey such difficulties appeared to be child's play and she met and conquered them with a smile.
Kultur Journal Stuttgart, 2005

„…The young German violinist Berenice Christin Terwey was engaged for the performance of Dvorak‘s violin concerto in A minor. She left heroics and fighting in the background without belittling Dvorak‘s music and showed instead, in a most impressive way, the role that „Cantabile“ plays in this work. She inspired the orchestra with her refreshing and poetic style of playing, and the audience responded with enthusiastic applause…“ NZ/ 2002