Ozgur Aydin in the Press

November 8, 2012
THE NEW YORK TIMES REVIEW of the CARNEGIE HALL RECITAL
by Corinna da Fonseca-Wollheim


The New Criterion
New York chronicle by Jay Nordlinger
December 2012

Aydin was impressive—almost a find, I would say. He is a supple player, with a splendid touch. I usually avoid this word “touch”—lazy, and a little vague. But it came to mind, as I listened to Aydin. He made some pearly sounds. (There’s an old-fashioned word, “pearly.”) At one point in the recital, I heard some dogs not barking: no banging, no misplaced accents. Aydin has a true sense of line. I look forward to hearing him in a solo recital.

He and Midori were a good match, sharing what might be broadly termed “sensitivity.” They both have fine ears and refined taste.



THE NEW YORK TIMES, November 1, 2011
By Vivien Schweitzer


...A celebrity instrumentalist (Midori) invariably headlines the event, but talents of the pianist are equally important, especially in a work like Mozart’s Sonata for Piano and Violin in E flat (K.380), which opened the program. It’s publisher advertised the piece in 1781 as one of “six sonatas for piano with the accompaniment of a violin by the moderately well-known and famous Wolfgang Amadee Mozart”

Mr. Aydin’s lithe, sparkling touch brought out the sunny qualities of the outer movements, his poised reading of the Andante con moto beautifully complemented Midori’s penetrating playing.

That these two musicians are regular collaborators was evident in each of their finely wrought but free spirited interpretations. The eerie musings of the first movement of Shostakovich’s Sonata for Violin and Piano (op. 134) unfolded here with plaintive intensity. The no-holds-barred ferocity of Midori and Mr.Aydin’s playing vividly illuminated the manic, almost deranged moods of the second moment Allegretto and the solo cadenzas in the finale.

A more subdued agitation permeates Schumann’s Sonata for Violin and Piano No.1 in A minor, written a few years before the composer was admitted to a mental asylum. The musicians offered an intimate interpretation that conveyed the work’s restless energy and plumbed the searching dialogue between the two instruments.

The program concluded with a passionate rendition of Schubert’s Fantasy for Violin and Piano in C (D.934), composed shortly before he died at 31.


HERALD SCOTLAND, August 27, 2010
By Condrad Wilson


..at the start of the programme, Beethoven's early A minor sonata, Op.23, sounded, as originally intended, like a work for piano and violin rather than one for violin and piano.
...It certainly helped her (Midori) Turkish pianist Özgür Aydin to make a virtue of the piano part, particularly in the pointillist wit of the slow movement.
...most private of meditations, in which the pianist likewise seemed to be playing genuine chamber music.


CHICAGO CLASSICAL REVIEW, July 21, 2010
By Lawrence A. Johnson


Midori and her superb pianist put across an uncommonly fresh and vital performance that yet retained a Classical poise and gracious element...

...The violinist and her pianist conveyed the tart folk element and surging rhapsodic qualities while giving the music's austere, brooding expression its due finely colored and dynamically detailed playing. The performance culminated in a powerful coda, Midori and Aydin's full-till advocacy making one wonder why this terrific work (Bloch's sonata) has yet to enter the regular fiddle repertory.

...The final section, Dryades et Pan, was a tour de force from the rustle of the quarter tone wind trills to the frenzied dance section, Midori and Aydin putting across the picturesque qualities of this evocative and difficult score


Charming nuances ... classical energy and elegance ... a probing musician ... sheer audacity

Don Rosenberg, Music Critic, The Plain Dealer Cleveland

...highly reflective Liszt B minor sonata and refreshingly meditative approach to Rachmaninov’s second sonata.

The Irish Times

Ozgur Aydin had the most unassuming platform manner of any pianist, entirely devoid of extraneous movements or visual theatrics. The absolute perfection of his playing, his cultivated taste and lofty musical aims, reminded me of England's legendary Solomon. His Schubert (Drei Klavierstucke D.946) and Beethoven Sonata (the "Tempest") were perfectly proportioned and poised while his performance of Rachmaninoff's B-flat minor Sonata Op.36, was dispatched with complete technical ease without the slightest hint of ever being merely showy.

Ozgur Aydin played his second recital, from start to finish, like a god. His performance of Schubert's late Sonata in A major, D.959, was nothing less than a piece of heaven. Aydin's playing of Schubert is ear-marked for greatness. His sound is luscious, the musical direction is always natural, there is a seamless and effortless quality to the lyricism, there is intimacy, there is charm. A distilled melancholy pervaded the sublime second movement. He ended with Liszt's "Dante" Sonata, performed with a breadth and musical loftiness which reminded me of Arau in his prime. It was a stupendous performance wherein timing, pacing, tone, imagination, drama and structure were nothing short of perfection.

Allen Reiser, The Canadian Music Teacher, Vol.50. No.2, Spring 2001