Paul Boekkooi, the leading S. African critic, was there for Daniel Rowland’s performance of Distant Light by Péteris Vasks at Stellenbosch International Chamber Music Festival, 3rd July 2016.

Traunsteiner Tagblatt
Chiemgauer Musikfrühling, Traunstein, Germany, May 2016

Financial Times, Shirley Apthorp

“among this year’s highlights were organist Wolfgang Abendroth’s seven-part arrangement of Alban Berg’s violin concerto, all the more effective for its intimacy, with Daniel Rowland giving a lyrically intelligent account of the solo part; and a surreal but startlingly plausible version of Shostakovich’s 15th symphony for violin, cello, piano and three percussionists.”

The Glasgow Herald

” How did he maintain such an incandescent level of tension throughout a piece as long and as involved as the Franck sonata and how many musical volts were coursing through that bow? His tone was silky smooth and sweet as honey and he seemed to be in another world, eyes closed and breathing in the very soul of the music. ” 

Beeld, Thijs Odendaal

Korngold’s concerto is surely one of the most “lirico dramatico” in the violin repertoire; fiendishly difficult and brilliantly composed with expansive and colourful orchestral writing.

Put the thought-provoking and always engaging violinist Daniel Rowland on the stage with an orchestra even more refined than two nights previously under Raiskin’s guidance, and you get a very special musical experience.

And so it was. Rowland enlightened every lyrical, harmonic and melodic aspect of the work, as well as the fascinating diverse constructions of the solo and orchestral writings during the performance. With his magnetic music-making he transfixed this listener, resulting in an experience that lingered in the mind long after the concert. It is, undoubtedly, an evening that will be remembered for many moons to come.

Die Burger, Cape Town

“Stylish, tasteful and impeccable – but this was so much more: here was deep musical understanding that ranged from tender intimacy to the greatest excitement, always backed up by an astonishing technical ability.”

Die Burger, Cape Town

” The success and conviction and of the Seasons lay with Rowland. He handles the violin as an extra, but ‘integral’ limb. He creeps round the stage as an enfant terrible, dragging you and the ensemble along with the force of his magical imagination. His sound, even without vibrato, is rich and sweet as honey, his interpretation full of mood-swings and he doesn’t fear to let his violin scratch and groan.”

Badisches Tagesblat, Baden-Baden

” All beauties of violin playing were in evidence in this Brahms Concerto: calm bow arm, needless to say faultless intonation and highest musicality. As all of it was as in one breath with the orchestra, we witnessed a masterful performance. The stormy applause said it all.. “

Haarlemse Courant, Netherlands

” With a great sense of lyricism Daniel Rowland plays these gorgeous sonatas. His whole body plays the violin, not through exaggerated movements – it is a charisma that’s hard to put into words. “

Financial Times, Andrew Clark

“… Rowland’s spur-of-the-moment, light-on-the-bow inspiration, whereby the music vanished in the very act of articulation – a bewitching quality that few musicians possess “

The Glasgow Herald

“It was not just the technical brilliance of his playing or the astonishing richness of his tone that gave his performance its unique stamp of quality. He radiated a single-minded intensity that made him seem totally at one with the music.”

Beeld, Johannesburg

” What an exceptionally fine soloist and leader this British/Dutch violinist is! We haven’t had such an emotive, but also totally and truly a charismatic guest in a very long time.. .the emotions, smouldering passions, the melancholy: Rowland transported us with daring and severity into the composers soul”

Tim Ashley, The Guardian

” glorious playing…ravishing in its finesse.”

The Times, Hilary Finch 

” Daniel Rowland’s performance of the second quartet’s searingly intensive recitativo, supported by hushed humming and rich chords, was the evenings tour de force.”

The Citizen, Bruce Dennill