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Born in Cologne in 1982 and now a pupil of Zakhar Bron, violinist Erik Schumann and his duo partner, Finnish pianist Henri Sigfridsson (eight years older) pull all the stops on this new release, pervading Prokofiev’s music with inexhaustible energy. Their technical brilliance proves them more than adequate in meeting the music’s daunting requirements, particularly in the rapid, kinetic passages. Furthermore, Erik Schumann coaxes a multitude of timbres from his “Jupiter” Stradivarius (placed at his disposal by the Nippon Music Foundation), thus congenially expressing the variety of moods contained in Prokofiev’s music. The D Major Sonata, in particular, is imbued by Schumann and Sigfridsson with typical dance-like traits, thus assuring a direct transition to the ‘encores’ – three extracts from Prokofiev’s operas and ballets, as transcribed by Jascha Heifetz and M. Fichtenholz, and performed here by the duo with aplomb. Produced in collaboration with the classical radio station WDR (Cologne), this CD is not only attractive in terms of repertoire, but remarkably executed as well.
www.klassik-heute.com, August 2008 by Sixtus König
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“[…] This Prokofjew-programme demands a lot from the musicians. In these works, they can already show everything: technical sovereignty for pressing movements, raging courses and breathing cantilenas, wide awake sensibility for a broad range of different spheres of moods. Schumann and Sigfridsson include all these capabilities in their interpretation in a musically coherent way. A highly promising double debut.”
from: “Gewagt, gewonnen” in Fono Forum July 2008 by Norbert Hornig
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Although Prokofiev’s chamber music still continues to be somewhat unjustly ignored, the self-assured Russian master was astoundingly radical in that domain. On his impressive début CD, violinist Erik Schumann (accompanied by Henri Sigfridsson) performs Prokofiev‘s two tragic, powerful sonatas, complemented by three cheerful arrangements.
Johannes Saltzwedel, KulturSPIEGEL 5/2008
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“[…] The desolation, the dark and likewise tragic world of thought in the Sonata no. 1 is impressively developed by the two musicians, already having been outstanding soloists for a longer time. So within a short time, you totally forget that they are still quite young. […] A good recording which makes you think: “You should pay attention to this Schumann.”
from: “Emotionale Einstimmung” in Ensemble 03/2008 by Carsten Dürer
“ …The young Erik Schumann also had an important share in this success. With his fine sensibility for contrasts as well as similarities between different composers, he accordingly adapted his articulation to sound emphatic, yearning, intricately woven or incandescent, at times leaving wide berth for melodic cantilena, at others permitting himself an unabashed glissando…” Hans-Christian von Dadelsen in Südkurier, February 8, 2008
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”With masterful zeal, sure-footed brilliance and with the full sound of his highly valuable instrument, he enthralled his audience with turbulent scales and suggestive cantilenas…” Hans Rühl in the Rheinische Post, December 1, 2007
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”The soloist thrilled the audience with deft artistry as well as extended melodic phrases – even the birdsong was not merely a tone painting of nature, but displayed true solo wizardry in the highest registers. Schumann’s birds warbled perfectly in tune with Vivaldi’s score…” Helmut Weidhase in Südkurier, November 28, 2007
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”Then the listeners become mesmerized as Erik Schumann starts to shine. With a violin sound that is both substantial, graceful and sophisticated, this marvelous soloist proved his great talent in the Beethoven concerto and was much applauded. Only 25 years old, he effortlessly combines the laid-back self-assurance of youth with mature earnestness, knowing very well that he has no need to show off. The kettledrum’s gentle, emphatic pulse at the beginning is judiciously taken up and transformed by Erik Schumann for the entire rest of the work. With his firm yet flexible hand, the soloist bathes that initial motif with torrents of heartfelt melodiousness – tender at times, then at others with sudden, wrenching pain. In the second movement he inspiringly withdraws into the inner realm of fantasy before nimbly, valiantly staging the finale as an adroit, witty humoresque, all the while coaxing a sound from his almost 300-year-old Stradivarius that is lighter than air, yet produced with vigorous bowing pressure.
In the cadenzas, then in encores by Kreisler and Bach, Schumann proves himself a master of chords and polyphony on the violin. You can sense the rebel in him, yet he has already attained the tranquil composure that comes with maturity. Erik Schumann stands as solid as a rock, and that is why he is able to master the music with such seeming effortlessness.” Michael Thumser in Frankenpost, Septermber 24, 2007
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Daring to tread a realm of undiscovered sonorities
”Listening to music, we sometimes close our eyes as if by reflex, dreamily isolating ourselves from our surroundings as we let the harmonies lead us into undiscovered territories. However, such a reverie is not possible in Sergey Prokofiev’s Sonata for Violin and Piano No. 1 in F Minor, op.80: this particular work does not make it easy for the listener. Whatever one is led to expect does not occur: whenever there is a brief inkling of recognition, the next jolting surprise is already lurking around the corner. With this piece, violinist Erik Schumann and his partner at the piano Henri Sigfridsson offered one of the season’s true highlights with their Meisterkonzert recital in the Lutherhaus in Osnabrück.
Tensely, anxiously focusing on the piano’s lower registers, the first measures of the Andante in Prokofiev’s 1st Violin Sonata give us a foretaste of what is to come. The piano keys set the stage for a dream in which the violin, as main character, will embark on a series of exciting journeys. The first movement almost frighteningly ends on the brink of a sudden void. It clears the way, in turn, for an Allegro brusco in which the notes almost threaten to explode. The violin expresses all imaginable passion and suffering with a harsh succession of downbows – sonorous outbursts that ‘feel’ so real that you think you can actually see them, touch them.
Born in 1982 in Cologne, violinist Erik Schumann has already ascended to the podiums of the most renowned international venues. His unique sound exhibits such a multilayered variety of colors and moods that one could almost go on listening forever. Pianist Henri Sigfridsson, born in 1974 and winner of a number of prizes and awards, completes this duo with true radiance. Although any distance of communication between them seems to be utterly abolished, each of them still preserves his own individuality.
Wolfgang Amadeus Mozart’s sonata in G Major KV379 served as a light, accessible opener. Its Andante cantabile does not transport the listener into other worlds, but merely to green pastures where the first step might still lead into the unknown, yet finally concludes in a happy end.
Robert Schumann’s Sonata No. 1 in A Minor op.105 speaks an entirely different language altogether. The anxious, agitated first chords already make clear that here we will not be dealing with security, but with its very opposite – that is, with contrasting emotions. Any remnant of triviality is subsequently dispelled with a series of highs and lows ranging from manifest anger to tranquil reflection. Having reached the work’s dynamic crowning point, the music then descends in a torrent that leads to a strikingly powerful conclusion – a valve through which all the sonata’s previously pent up energy is released and resolved.” Henk, Neue Osnabrücker Zeitung, March 7, 2007 -
The soloist Erik Schumann shined at the violin concert. The 24 year old musician from Germany can express his feelings naturally and explicitly. Does he owe this to his good teacher Zakhar Bron? He obviously presents the beauty of tone in the tried and tested fashion, but the special thing about him is his refreshing style, as if he is soaring. One does not experience such a performance all too often. Turo Yuki, Ongaku no tomo,October 31, 2006
- … the soloist Erik Schumann showed himself in best form, and also the orchestra contributed to the excitement. Erik Schumann was convincing through his powerful and sensitive interpretation and through his masterful and effortless cooperation with the orchestra in perfect ensemble playing as well as in virtuoso solo-passages. ÖA, October 25, 2006
- …The soloist in Mozart’s Violin Concerto Nr. 4 in D major (K. 218)was Erik Schumann. The award-winning violinist performed the first movement with smooth and gleaming tone, completely integrated in the musical substance. The Andante Cantabile became a sensitive and soaring aria, and a fine and elegant tone served to support and clarify the dance-like character of the last movement. The cadenzas were remarkable for their beautiful structures. There will be a lot to hear from this talented man. Richard Hörnicke, Wiesbaden Courier, October 24, 2006
- …The soloist and orchestra presented themselves in a flowing dialogue with exact agreement in articulation and phrasing. The multiple award-winning violinist Erik Schumann, who won his first prize at 12 years of age in the competition “Jugend Musiziert”, combined technical perfection with intellectual sophistication in his performance. One could hardly wish for a better advocate for the entertainment value of Bartok’s music. A completely successful interpretation; a respectful and creative reading of the Hungarian master’s score. Evening Post, October 24, 2006
- …Erik Schumann was able to convey the excitement of Bartok’s use of stylistic elements in this work: from powerfully expressive cantilena to wild and furious rhythms to devilishly difficult runs. Not to forget the double-stops with their fiendish intervals and the cadenza, which he played masterfully.
Rhein Newspaper, October 23, 2006
- Nordic Evening with Southern Flair
The young man (still in his mid-twenties) made very clear with his flattering tone in the Andantino why Prokoffief, after the premiere of his first Violin Concerto in 1923, was accused of a reactionary Mendelssohn-hommage when his intention was in fact to create something quite new. After the required romantic programme, Schumann played the modern electives with full-blooded temperament: with rich colours and ready for every technical hurdle, whether in the hail-storm of notes in the first movement or the circus-ride of the grotesque scherzo.
Schumann, with his convincing take-charge attitude, found just right approach to this “warhorse”, throwing himself with vehemence into the fray, and not afraid of the grand gesture. And when the heavy brass joins in for the finale, Schumann still has enough reserve to soar with obvious enjoyment over the orchestra. A convincing debut. Uwe Mitsching , Nürnberger Nachrichten, April 10th, 2006
- “Prokofiev’s first Violin Concerto became a breathtaking rolling-coaster ride in the hands of Erik Schumann and the Nürnberger Symphoniker. This work was heard here last November with the impressive young Baba Skride and the Lahti Symphony Orchestra, but this 24-year-old German violinist proved himself worthy of every comparison. Schumann conquers the monstrous difficulties of this piece with a deep melodic and emotional understanding. He plays a Guarnieri violin with seductively beautiful sound, which only serves to underline the warmth and brilliance of his interpretation.
Schumann’s breathtaking mastery of horrendous technical difficulties and ever- increasing complexity of his sound lead to an intoxicating culmination in the finale of the last movement. His rhythmic precision and playfulness, but especially his astounding musical maturity, made this an exciting performance of this manyfacetted concerto. His encore (Bach) only served as confirmation that this is a violinist we would like to hear often.” Sabine Kreimendahl, Nürnberger Zeitung, April 10th, 2006
- Masterly young musicians for the 21st century
“The 23 year old violinist Erik Schumann showed his stupendous technique and fascinated the audience by playing popular virtuoso violin “delicacies”, such as Kreisler’s Miniaturen or the even more capricious Carmen-Fantasie by Pablo de Sarasate. Playing with a great tone, he presented himself as a modern Devil’s Violinist and obviously got a lot of pleasure from the charming sounds of these pieces, which, apart from virtuosity, demand colour, melodic intensity, and risks. He had a sensitive partner at the piano in Oleg Polianski.” Sonja Müller-Eisold, “Westfälische Rundschau”, December 13th, 2005
- Highly talented young Violinist in the Stadthalle
„ The 23- years old Violinist Erik Schumann was the star of the concert yesterday. He presented himself as a great violinist with a great career.
He fascinated the public not only with his interpretation of the famous French romantic composer, but also his Fritz Kreisler an his Johan Sebastian Bach were excellent. Besides a perfect technical skill the young soloist shew an exciting musical maturity and a deep expressivity, very rare at his age.”
Hartmut Sassenhausen,“Westdeutsche Zeitung”, November 7th, 2005
- The gourmet’s stew with variations
“Due to this fiery playing, the orchestra’s mellowness and breadth in Max Bruch’s “evergreen” Concerto for violin in G minor was all the more impressive. Eschenbach was like a chamber music partner and constantly attentive to the young soloist Erik Schumann from Cologne. He convinced with the obligatory pathos as well as the languishing “catchy tunes” of this work. Schumann’s great tone convinced in all registers and, like Eschenbach, he had no fear of spontaneous dynamic thrusts.” Helmut Peters,“Die Welt”, June 22th, 2005
- With a hot-tempered quality
“There was a lot more passion in Bruch’s G minor Violin Concerto: The violinist, Erik Schumann, only 23 years old, filled the popular piece with a cultivated, fine and, at the same time, sensual, brilliant tone and, together with his mentor Eschenbach, spurred the orchestra on with his fabulous Guarnieri. Really great!” “Hamburger Abendblatt”, June 20th, 2005
- Schumann soar in Ravinia Young Artists series
German violinist Erik Schumann is no stranger to Ravinia, having participated in master classes at the Stearns Institute and receiving its Rising Stars distinction in 2002. The most striking of his considerable attributes on display in Dvorak’s Concerto in A Minor was the utter naturalness of his musicality and the calm confidence he exudes on stage.
Schumann possesses a sweet, creamy tone that can take on a brilliant edge or soften into a shimmering halo of sound. Multiple stops were a breeze for the young virtuoso, and passagework was etched with a wondrous clarity.
From the Slavic melancholy of the first movement to the breezy high wire opening of the finale, the violinist never failed to plumb the core of this underplayed concerto. Schumann is hugely talented artist, more than deserving of the kudos that will soon come his way. Michael Cameron,“The Chicago Tribune”, July 21th, 2004
- Audience enthusiastic about violinist Erik Schumann
“The young violinist Erik Schumann was soloist in Max Bruch’s Violin Concerto No. 1 in G minor op.26. Still studying at the Conservatory in Cologne, Schumann is such a talented virtuoso that, even playing in international concert halls, he is totally convincing and able to prove his value. He played the lyrical parts of the Allegro moderato with a wonderful cantabile and grand expressiveness, giving a noble tone to his marvellous instrument… He was equally convincingly in the virtuous, brilliant Allegro energico finale, which is full of double-stopping and spiccati. As a reward for the audience’s enthusiasm, Erik Schumann played Fritz Kreisler’s Recitative and Scherzo as an encore, fascinating the audience with his aura and managing the most virtuosic difficulties.” “Wolfsburger Allgemeine Zeitung”, March 16th, 2004
- The Düsseldorfer Symphoniker’s New Year concert
Up and away to the South!
“Erik Schumann, the young Cologne violinist and last year’s North Rhine-Westphalia Scholarship winner, was the soloist in Astor Piazzolla’s The Four Seasons in Buenos Aires. Schumann belongs to that kind of young musician which doesn’t seem to know any technical problems. One will hear of him again.” “Rheinische Post”, January 2nd, 2004
- With Heart and Understanding
Not to hear Erik Schuman would be a missed opportunity. Because, this young artist plays the Beethoven Violin Concerto with absolute sovereignty, with heart and understanding and in both of the first two movements also a bit more sensuality and sensitivity than Frank-Peter Zimmermann. Eckhard Britsch, “Neue Westfälische Bielefeld”, April 22th, 2002
- Fair symphony braves foul weather
I won’t bother calling violinist Erik Schumann a prodigy. He is 19 years old and has obviously played the violin for a long time. But he had none of the monotony of many youthful gifted fiddle players. You have heard it – all technique with very little thought or expression behind it. His performance of Mendelssohn ‘ s Violin Concerto in E Minor op. 64 had depth of feeling and revealed a keen intelligence along with a fine tone an technique” David Williams, “The Charlestone Gazette”, January 21th, 2002
- Carried Along by a Fantastic Mood for Playing
In the following performance, the Violin Concerto in D Major, op. 77, also from Brahms, was completely thrilling. Above all the young soloist Erik Schumann presented himself in such a fantastic mood for playing, that the audience rightfully gave him a standing ovation. Schumann made the perfect partner for the orchestra which played with the requisite symphonic weight. Full of passion and with his immaculate technique, he mastered the most difficult solo passages. Even as the soloist did not show any weakness – the instrument only held up under the pressure until the middle of the third movement. Then one of his violin strings broke – and he was forced to exchange his instrument with that of one of the members of the orchestra. The artist did not allow himself to become agitated by this and continued on with his part with complete sovereignty.
Uwe Müller, “Westdeutsche Zeitung”, October 5th, 2001
- Pictures, Atmosphere
The 18 year old Cologne native, Erik Schumann, is not, as one might assume given his young age, a sporty showoff, who first needs to learn depth. Just the opposite, he especially knows above all how to bring out the inner tension of this emotionally alternating wash, particularly drawing the lyrical portions into its spell. With his Guarnieri, he possesses a silky soft tone, a smartly employed marvelous technique, which he places in service with its entire gesture in this delicate work by Brahms, of which God only knows how many top-notch recordings already exist. Manfred Engelhardt, “Abendzeitung”, May 17th, 2000 -
A Lively Atmosphere, Brave and Cleanly Articulated Mozart
A fabulous young German violinist, who can already present numerous international references was responsible for this: the 18 year old Erik Schumann, born in Cologne and currently studying there with Zakhar Bron. Along his virtuostic path he drew tones that were pure and clear as glass into the two voiced solo cadenzas (and the Bach Encore). His bowing technique combines brilliance and warmth. The vibrato demonstrates glowing inner fire and the highly expressive adagio theme came across the footlights like a gentle godly spark. “Neue Rhein/Ruhr Zeitung”, February 7th, 2000
Béla Bartók
Violin Concerto No.2 in B-minor
Allegro non troppo
YSO-RLP
Michael Luig, Conductor
(Live Recording, SWR)
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Béla Bartók
Violin Concerto No.2 in B-minor
Andante tranquillo
YSO-RLP
Michael Luig, Conductor
(Live Recording, SWR)
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Béla Bartók
Violin Concerto No.2 in B-minor
Allegro molto
YSO-RLP
Michael Luig, Conductor
(Live Recording, SWR)
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Ludwig van Beethoven
Sonata for piano and violin No. 7 in C minor, Op. 30 No. 2
Adagio cantabile
Henri Sigfridsson, piano
(Live recording, WDR)
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Johannes Brahms
Sonata for piano and violin No. 3 in D minor, Op. 108
Un poco presto e con sentimento
Henri Sigfridsson, piano
(Bavarian Radio Station )
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Pablo de Sarasate
Gypsy Airs, Op. 20
Peter von Wienhardt, piano
(Live recording, WDR)
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Hans-Werner Henze
Sonata from the Opera “Pollicino”
Henri Sigfridsson, piano
(Live recording, WDR)
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The young violin virtuoso spoke with Rosemarie Lutz.
You have a famous name. “What’s in a name?”
I feel very lucky to have such a “musical” name. By the way, my father (also a violinist, and a member of the Düsseldorfer Symphoniker) is called Robert Schumann. Perhaps the name is fate. In any case, it’s easy to remember.
You started music lessons at the age of four, and were considered a “wunderkind”. What are your impressions of that?
As you can imagine, its difficult to think of oneself as a “wunderkind”. I don’t really like the term at all, which recently has been used so frequently that nearly every child with a bit of musical talent - no matter what they actually do - has been celebrated and marketed as a “wunderkind”. The problem with many “wunderkinder” is that all too often the miraculous evaporates, and one is left with the interpretatory skills and personality of a child. I won’t deny that there are children who are truly miraculous musicians. Like, for example, among violinists, Yehudi Menhuin certainly was. But I think these are very rare cases.
Have you been able, in spite of your early and intensive occupation with the violin, to have a “normal” life - discos, dancing, friends?
I’ve never liked discos because they’re simply too loud. But I still have a “normal” life, as far as its possible for a musician at my age to have one. Its like an adventure, and always different: musical inspiration, meeting other artists and so on. That’s what makes it so interesting and exciting! There were times in which I felt I had to withdraw, or do without something, but I know now that you need a lot of time and patience to master this instrument. And you have to invest even more time and energy to develop musically and to find your own voice. But to get back to your question, one should always strive for balance and to lead a “normal” life. In other words, not to look at music as somehow separate from your life, but to let all your experiences become part of the music.
Do you have role models? Or people who have been especially important to your career?
There are two people that I’ve had the great good fortune, both personally and professionally, to meet. The first is my teacher, Professor Zakhar Bron and the second is the conductor Christoph Eschenbach. I’ve studied with Zakhar Bron since I was ten. He’s overseen my technical and musical development, and I learn more from him every day. I admire his dedication and energy, and that’s why I think of him as a role model.
Christoph Eschenbach has a similar position in my life; I’ve been lucky enough to be able to work with him for quite some time. Through him I’ve learned a lot about other aspects of music and musical expression. And thanks to him I was able to participate in his tour of Japan with the Chicago Symphony Orchestra.
What have been your most important musical achievements so far?
All of my public appearances have been equally important - for example the Leonard Berstein Award, or the tour of Japan with the Schleswig-Holstein Festival Orchestra with Christoph Eschenbach. The most important thing for me is to stand on stage and express something to the audience, to reach them or to move them, to share or awaken an emotion in them. I think that’s the most important aspect of music - giving and sharing, not the self-representation.
You’ve just about finished studying. What comes next?
Of course I’d like to continue as a concert performer, but I’m very interested in playing more chamber music.
Do you have an agent?
Yes, my agent is Astrid Schörke, in Hannover. My Japanese representation is Masumi Sato from the agency Concert Imagine.
What are your repertoire highlights and new works?
I have a relatively broad repertoire: from the so-called “war-horses” to unusual or little-known works from the Baroque to contemporary works. And I love to learn new pieces. But most concert promoters want the well-known and -loved concertos by Mozart, Dvorak, Tchaikovsky and Brahms.
Are there recordings of you available, or in planning?
I’m looking for a label that’s interested in working with me to reach a broader public than concert audiences.
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Welt am Sonntag
Erik Schumann awarded the ‘Leonard Bernstein Award’ “I won’t be pressed”
The interview went as follows: One sitting in the kitchenette, sandwiched between the electric kettle and the ashtray. The other seated on the sofa bed, shelving with a television and video tapes to the right and to the left a CD player. Yes, this is unmistakably a typical student digs, a flat where there is no sign of any particular care or attention to aesthetics, upkeep or maintenance, in short: to classical music. But this is the charm of the classical musician. Thankfully a very uninhibited lifestyle often lurks behind this art form of dress coats and shiny shoes.
And this is the case with Erik Schumann, who is studying in his seventh semester at the ‘Kölner Musikhochschule’ college of music in Cologne. The college is located so close to Schumann’s flat, described above, that it would even be possible for his two somewhat laid back Persian cats to jump over. Nevertheless Schumann prefers to stay at home to practise. Here he won’t be disturbed. Here he doesn’t need to book a practise room first with the porter before he can devote himself to Beethoven’s violin concerto, for example. And so we come to the unusual aspect in this normal tale of a music student’s life.
This coming Friday, Erik Schumann will perform the Beethoven concerto at the Schleswig-Holstein Music Festival. This alone would be a good enough reason to write a report on him. Yet what’s more, Schumann will also be awarded the ‘Leonard Bernstein Award’ on this occasion. Clearly this 21 year old is outgrowing the stadium of the much admired budding new violinist.
Schumann likes to speak about maturity in music and about the content which touches the soul of the listener. He who knows best of all how to captivate his audience with virtuoso showpieces and performances – prefers to think about how best to play a Schubert’s sonata and why this is ‘ten times more difficult’ than Pablo Sarasate’s ‘Gypsy Aire’.
Sometimes the young violinist interrupts himself when he starts to philosophise – “I don’t want to be precocious” he says. His teacher, he says, is allergic to precocious pupils. This teacher is Zakhar Bron, the legendary instructor to violinists such as Maxim Vengerov and Vadim Repin. Erik Schumann came to him when he was eleven. And to ensure that the young violinist from Cologne was able to attend his classes with Bron regularly, who was then teaching in Lübeck, his family set him up with a host family.
In the meantime, his professor started teaching in Cologne. And it happens more and more often that his pupil brings his own interpretations to the class. And if Schumann is successful in convincing his tutor, in spite of his allergy to precociousness – that will really be something. And so begins the path to independence – and to a career. The question is put to him of what image he will adopt to establish himself on the market. But, says Schumann, “I won’t be pressed”.
Andreas Fasel
Vita
Erik Schumann, born in Cologne in 1982 as the son of German / Romanian-Japanese parents, is frequently invited to perform as a soloist with orchestras in Europe, Asia and the USA, among them are the NDR Symphonic Orchestras Hamburg / Hanover, Gewandhaus Orchestra Leipzig, Dusseldorf Symphony Orchestra, the Vienna and the Zurich Chamber Orchestras, Tonhalle Orchestra Zurich, Orchestre de Paris, Orchestre National de France, Sinfonia Varsovia, Czech Philharmonic Orchestra, Kyoto Symphony Orchestra as well as the Chicago Symphony Orchestra and the National Symphony Orchestra Washington.
Conductors he worked with include Christoph Eschenbach, Gianandrea Noseda, Jiri Belohlavek and Vassily Sinaisky.
Erik Schumann has performed in numerous important concert halls, including the Prince Regent’s Theatre Munich, the Philharmonie in Cologne, Gewandhaus Leipzig, Konzerthaus Vienna, Tonhalle Zurich, Victoria Hall Geneva, Musikhalle Hamburg, Stadtcasino Basel, Suntory Hall Tokio, Seoul Arts Center, Concertgebouw Amsterdam, Salle Pleyel Paris as well as the Louvre.
Last season, Erik Schumann played as the soloist of the Tokyo Metropolitan Symphony Orchestra (Leos Svarovsky), the Schleswig-Holstein Festival Orchestra on a tour throughout Brazil, and at Kennedy Center, Washington D. C., as the soloist of the National Symphony Orchestra.
Upcoming highlights include his debut with the NHK Symphony Orchestra Tokyo, concerts with the Bamberg Symphony Orchestra and his re-invitations to the Orchestre de Paris and the Tokyo Metropolitan Symphony Orchestra.
Since the beginning of his musical career, Erik Schumann has won several awards: First prize at the 7th International Wieniawski-Lipinski Violin Competition in Lublin, Poland, prize winner at the Jacques Thibaud International Violin Competition (2002) and at the Shlomo-Mintz Violin Competition Sion, Switzerland (2003). Erik Schumann received a grant from the “German National Academic Foundation” as well as from the “Deutsche Stiftung Musikleben”. In 2004 he was honoured with the Bernstein Award of the Schleswig-Holstein Music Festival.
He took part in such important festivals as the Salzburg Easter Festival, Kissinger Sommer, Festspiele Mecklenburg-Vorpommern, Schleswig-Holstein Music Festival, Mozart-Fest Schwetzingen, Rheingau Music Festival and the Ravinia Music Festival Chicago. Elena Bashkirova invited him to join the International Jerusalem Chamber Music Festival in 2009.
As a chamber musician Erik Schumann works with partners such as the Tokyo String Quartet, Claudio Bohorquez, Markus Groh and Henri Sigfridsson. Together with Nicolas Altstaedt and Peter von Wienhardt he forms the AbsoluTrio. At the Kronberg Academy 2004 he played with Juri Bashmet, Gidon Kremer and Daniel Hope. Alongside Lars Vogt, he supports the project “Rhapsody in School”.
In May 2008 he performed a duo recital with Christoph Eschenbach at Ooji Hall, Tokyo.
Also in May 2008, Erik Schumann’s debut-CD, featuring Sergei Prokofiev’s duo sonatas (Henri Sigfridsson, piano), has been published for the Avi Music label. By now it has been celebrated as an outstanding debut by the press.
His musical development has been decisively influenced by Zakhar Bron, with whom Erik Schumann is studying at the Cologne Conservatory. Moreover, he has attended master classes with Pinchas Zukerman, Miriam Fried, Shlomo Mintz, Hermann Krebbers and György Pauk.
Erik Schumann plays on a violin of Stradivarius (1713).
August 08
Concert schedule 2010-2011
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2010
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January 31
Düsseldorf
Robert Schumann Hall
String Quartet with Ken Schumann, Ayako Goto, Mark Schumann
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February 17
Huddersfield
Town Hall
BBC Philharmonic
Juanjo Mena details
Düsseldorf
Robert Schumann Hall
String Quartet with Ken Schumann, Ayako Goto, Mark Schumann
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April 10
Konstanz
Festsaal Inselhotel
South-west German Chamber Orchestra Pforzheim
Markus Huber
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April 11
Lindau
Tanner Denkfabrik
South-west German Chamber Orchestra Pforzheim
Markus Huber
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April 17
Nuernberg
Meistersingerhalle
Nuernberg Symphony Orchestra
Alexander Shelley details
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April 22
Duesseldorf
Tonhalle
chamber music with
Markus Becker, Nicolas Altstaedt, Nils Moenkemeyer details
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May 9
Düsseldorf
Robert Schumann Hall
String Quartet with Ken Schumann, Ayako Goto, Mark Schumann
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May 25
Badajoz
Festival Iberico
chmaber music with Ralph Manno, Gottlieb Wallisch details
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June 6
Pforzheim
philharmonic orchestra of Baden
Markus Huber details
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June 16
Traunstein
Chiemgauer Musikfrühling
chamber music with Reto Bieri, Diana Ketler, Alina Pogostkina, Razvan Popovici and Bernhard Naoki Hedenborg
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June 27
Luxembourg
Philharmonie
Recital with Oleg Poliasnkyi
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July 2
Tokio
Toppan Hall
Recital with Jinsang Lee
NHK Live Television recording
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July 4
Akita
Recital with Jinsang Lee
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July 18
Schleswig Holstein Music Festival
Salzau
SHMF Orchestra
Eschenbach and friends
Beethoven Triple with Alisa Weilerstein, Tzimon Barto
Christoph Eschenbach
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July 20
Schleswig Holstein Music Festival
MV Deutschland
SHMF Chamber-orchestra
Peter von Wienhardt
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July 25
Ravinia Festival
Pavilion
Chicago Symphony Orchestra
Christoph Eschenbach details
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July 29
Festspiele Mecklenburg Vorpommern
Heiligendamm
Festsall of the Grand Hotel
chamber music with
Ensemble ACJW, Gabriel Schwabe, Anna Buschuew details
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July 30
Festspiele Mecklenburg Vorpommern
Ulrichshusen
chamber music with
Ensemble ACJW , Daniel Hope, Gabriel Schwabe, Anna Buschuew details
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August 6
Kyoto
Kyoto Symphony Orchestra
Kyoto Concert Hall
Juanjo Mena details
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August 14
Neuss
Langen Foundation
Schumann Quartet (Ken Schumann, Ayako Goto, Mark Schumann)
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September 4
Rostock
Halle 207
Norddeutsche Philharmonie Rostock
Michael Sanderling details
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September 5
Rostock
Halle 207
Norddeutsche Philharmonie Rostock
Michael Sanderling details
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September 13
Tokyo
Suntory Hall
chamber music with Kyoko Takezawa,Yasushi Toyoshima,
Tsuyoshi Tsutsumi, Momo Kodama ,Kouta Nagahara details
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September 20
Cologne
Loft
Schumann Quartet with Sebastian Sternal Band details
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September 28
Tokyo
Parthenon TAMA
New Japan Philharmonic
Junichi Hirokami details
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September 30 - October 9
Lisboa - Nice
recitals on the MV Deutschland
Oleg Polianskyi
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