Press Review

Süddeutsche Zeitung, 7th July 2019
By Harald Eggebrecht

(Translation) One such outstanding and exceptional musician is Clara Shen, born in 2005 in Puchheim, long since well-known to the violin aficionados through her international competition success. The special does not manifest itself in alluring or stage coquetry, but in smart sincerity, concentration and a natural grace in her light-footed, but never light-weighted performance, which is already unmistakable now.

(Translation) Mendelssohn’s late sonata is characterized by its springy gloss, swift eloquence and the beauty of the cantilena, just as realised by Clara Shen. The Bach movements were convincing in their clarity and precise articulation, while playing the three Dvořák pieces in a characteristic way. She played Sarasate’s Carmen fantasy with so much pleasure in this elegant, almost intimate virtuosity that the hall raged. The Kreisler encore once again showed something extraordinary in Clara Shen’s art: profound wit and delicate charm

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DrehPunktKultur, 7th February 2019
By Heidemarie Klabacher

(Translation) In the bright centre was still the violinist Clara Shen, who let, with dazzling naturalness and natural musicality, virtuoso and melodic passages shine equally brilliant and rich in tonal colour. It was deeply moving to hear such a young artist playing so unpretentiously and musically on such a mature level.

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Süddeutsche Zeitung, 11th May 2018
By Harald Eggebrecht

(Translation) Clara Shen, this wonderfully concentrated, natural and allure-free violinist and the youngest of the “gang of four”, first offered the 13th Capriccio by Niccolò Paganini and an Etude Caprice by Henryk Wieniawski. Her tone is characterized by soft beauty and eloquent flexibility, the technical requirements of the pieces are not revealed by her vile violin playing, but contribute decisively to Clara Shen’s musical substance.

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Abendzeitung, 11th May 2018
By Michael Bastian Weiß

(Translation) As always, the audience is right. It is deeply impressive when twelve-year-old Clara Shen performs a delicate Caprice for violin solo, No. 13 in B flat major, nicknamed “The Devil’s Laughter”: not only with striking technical certainty, but also highly musical phrasing and to top it all even with distinctive theatrical talent.

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Bosco NACH(T)KRITIK, 26th June 2017
By Reinhard Palmer

(Translation) A twelve-year-old plays the solo violin?! That makes you curious and certainly helped to fill the bosco Hall properly. And Clara Shen did the race here. Not only because she mastered the solo part of Mozart’s Violin Concerto in A Major KV 219. It was the way she shouldered the task. Her performance was safe, decisive and controlled. But equally wonderfully musical, with extremely refined tone and transparent sound substance. In addition, she worked in concert with the Orchestral Society Gauting fully in their job, so that Dorian Keilhack was at the desk absolutely relaxed and could approach with real pleasure to the final touches.

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Augsburger Allgemeine, 16th May 2017
By Andrea Hutzler

(Translation) Die Zarge attaches great importance to serve as a podium for young artists and soloists. The youngest is likely to be the only eleven-year-old violinist Clara Shen, who has already won several prizes in violin competitions. The high school student, who has been playing the violin since the age of five and is currently in the class of Professor Sonja Korkeala at the Munich University of Music and Performing Arts, is relaxed and modest. “I just enjoy playing the violin,” says the young soloist. And you can feel that too when she takes her instrument and, with an unflagging joy in playing, with a fascinating naturalness and self-evidence, performs W. A. Mozart’s “Violin Concerto in G Major, KV 216”. Her fingers hovered easily over the strings during the numerous runs and embellishments, intonationally flawlessly she intoned the technically demanding double stops, trills and arpeggios in the cadenza, masterly she led her bow in various string techniques and all in a tremendous musical maturity and serenity. Rather, she winked “next door” to the orchestra musicians or smiled transfigured to herself. The roaring, never-ending applause of the audience was certain.

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Augsburger Allgemeine, 2nd May 2015

(Translation) With what grace, naturalness and simultaneous professionalism Clara and Viktor present all three movements, how delicate yet powerful they deal with their instruments, that is absolutely admirable. The same applies to Nicoló Paganini’s chamber music piece Cantabile D Major and the Violin Concerto No. 1 by Max Bruch, in which Viktor plays the part of the orchestra.

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