PERFORMANCES
ORCHESTRAS | CONCERTI PERFORMED | SOLO & CHAMBER | FESTIVALS | U.S. UNIVERSITY SERIES | PRESS
| United States | International |
|
Baltimore Symphony Boston Pops Orchestra Boston Symphony Orchestra Buffalo Philharmonic Charlotte Symphony Chicago Symphony Orchestra Detroit Symphony Harrisburgh Symphony Louisville Orchestra Manchester Symphony Marlboro Festival Orchestra Minnesota Orchestra New England Festival Orchestra Orchestra 2001 Philadelphia Chamber Orchestra Pittsburgh Symphony Princeton Chamber Orchestra Puerto Rico Festival Orchestra St. Louis Chamber Symphony Southwest Florida Orchestra Syracuse Orchestra |
Bayerischer Rundfunk Orchestra Bergen Symphony Cologne Chamber Orchestra Icelandic Symphony London Philharmonic Orchestra London Royal Philharmonic Orchestra London Symphony Orchestra Norddeutscher Rundfunk Orchestra Orchestra of Bern Orchestre de Chambre de Paris Orchestre de Lille Orchestre National de France Orchestre Philharmonique de Paris The Residency of the Hague Orchestra Symphonic Orchestra of Brazil |
| Bach, Johann Sebastian |
| Concerto No. 1 in D minor, BWV 1052 Concerto No. 2 in E major, BWV 1053 Concerto No. 5 in F minor, BWV 1056 Concerto No. 7 in G minor, BWV 1058 Concerto for 2 Claviers in C minor, BWV 1060 Concerto for 2 Claviers in C major, BWV 1061 Concerto for 3 Claviers in D minor, BWV 1063 Concerto for 4 Claviers in A minor, BWV 1065 Brandenburg Concerto No. 5 in D major, BWV 1050 |
| Bartók, Bela |
| Concerto No. 3 |
| Beethoven, Ludwig van |
| Concerto No. 1 in C major, Op. 15 Concerto No. 2 in B-flat major, Op. 19 Concerto No. 4 in G major, Op. 58 Choral-Fantasy in C major, Op. 80 |
| Berg, Alban |
| Chamber Concerto |
| Brahms, Johannes |
| Concerto No. 1 in D minor, Op. 15 |
| Chopin, Frédéric |
| Concerto No. 2 in F minor, Op. 21 |
| Debussy, Claude |
| Fantasy |
| Fauré, Gabriel |
| Ballade, Op. 19 |
| Franck, César |
| Symphonic Variations |
| Mozart, Wolfgang Amadeus |
| Concerto No. 9 in E-flat major, K. 271 Concerto No. 11 in F major, K. 413 Concerto No. 12 in A major, K. 414 Concerto No. 13 in C major, K. 415 Concerto No. 17 in G major, K. 453 Concerto No. 18 in B-flat major, K. 456 Concerto No. 20 in D minor, K. 466 Concerto No. 22 in E-flat major, K. 482 Concerto No. 23 in A major, K. 488 Concerto No. 24 in C minor, K. 491 |
| Poulenc, Francis |
| Concerto for Two Pianos |
| Prokofiev, Sergei |
| Concerto No. 2 in G minor, Op. 16 |
| Ravel, Maurice |
| Concerto in G major |
| Schubert-Lizst |
| Wanderer Fantasy |
| Schumann, Robert |
| Concerto in A minor, Op. 54 |
| Strauss, Richard |
| Burlesque |
| Stravinsky, Igor |
| Concerto for Piano and Winds |
|
Amsterdam: Concertgebouw Berlin: Sendersfreies Bern: Loeb Series Boston: Jordan Hall Chicago: Allied Arts Series, Orchestra Hall Freiburg: Hochschule Hannover: Schmidt Series Kansas City: Seifert Celebrity Series La Jolla: Museum London: Emmy Tillett Series, Wigmore Hall Lucerne: Konzervatorium Mexico City: Bellas Artes Mexico tour of ten cities Montreal: Ladies Morning Musicals New York: 92nd Street Y New York: Carnegie Hall, Isaac Stern Auditorium New York: Carnegie Hall, Weill Recital Hall |
New York: Lincoln Center, Alice Tully Hall New York: Merkin Concert Hall New York: Metropolitan Museum New York: Miller Theater New York: Pierpont Morgan Library New York: Rockefeller University New York: United Nations Assembly Hall Ottawa: Pro Musica Paris: Ecole Normale de Musique Paris: ORTF: Studio 104 Paris: Salle Gaveau Philadelphia: The Curtis Institute Quebec City: Club Musical des Dames San Juan, P.R.: Bellas Artes Tokyo: Nexus Hall Vienna: Konzerthaus Washington D.C.: Celebrity Series, Leisner Auditorium |
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Adirondacks Music Festival - Schroonlake, New York Berkshire Festival - Tanglewood, Massachusetts Byrdcliffe Festival - Woodstock, New York Mt. Desert Chamber Music Festival - Northeast Harbor, Maine Marlboro Music Festival - Marlboro, Vermont New England Bach Festival - Marlboro, Vermont Newport Festival - Newport, Rhode Island Puerto Rico Contemporary Music Festival - San Juan, Puerto Rico |
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Bard College Boston University Brandeis University Brooklyn College Columbia University Curtis Institute Douglass College Harvard University Lincoln University Muhlenberg College New York University Ohio State University Queens College Radcliffe College Rockefeller University Rutgers University |
St. Anselm College Sarah Lawrence College State University of New York, Purchase State University of New York, Stonybrook Swarthmore College Syracuse University University of California, Riverside University of California, San Diego University of Connecticut, Storrs University of Massachusetts, Amherst University of Michigan, Ann Arbor University of Puerto Rico, Ponce University of Puerto Rico, San German University of Puerto Rico, San Juan William Wood College |
“This impressive artist obviously does not cater to the whims of her public. Her interpretations reveal a maturity, a mastery and a depth of insight which we would unhesitatingly call a visionary’s. Evelyne Crochet is one possessed. [ A] Maria Callas of the piano. . . . Seldom was the meaning of re-creation made clearer to us. . . . She leaves nothing to chance yet her playing sounds spontaneous and alive.”
- Amsterdam Handelsblad
“This is a female Schnabel. . . .”
- San Francisco Chronicle
“Evelyne Crochet proved to be a master of the keyboard; something going beyond mere technical brilliance or acrobatic virtuosity but rather aiming at the spiritual contents of her art.”
- Goslarsche Zeitung
“She is a Mozart player par excellence, the phrases elegantly turned, the notes purling forth with radiant clarity.”
- Christian Science Monitor
“THE EXCITING RETURN OF CROCHET”
“[S]he began with Haydn Sonata in C Major (HOB. XVI/50), which she played with a beautifully regulated pianism and darting musical imagination. . . . Crochet followed this up with both books of Debussy’s ‘Images.’ These were notable for the beauty of her sound, or rather sounds, because each piece was a rank of terraces struck by moonlight at different angles. . . . After intermission, Crochet played Schubert’s big A- Minor Sonata, Op. 42, all repeats intact. This embraced four planets, each with its own momentum, varied climate and terrain. The slow movement was astonishing in its contrasts, and the relationships that bind them; the first episode . . . was of an enchanting lightness. The playing was bold to the point of wildness and breathtakingly intimate, complicated and then heartstoppingly simple, and that is just the way Schubert is.”
- Richard Dyer, Boston Globe
“Her work was marked both by a technical ease and assurance and by much else that associates itself with artists of maturity and insight. [Take] her stunning traversal of Olivier Messiaen’s ‘Vingt Regards sur l’Enfant Jésus’. The pianist had total command of instrument, idiom and purpose. She applied limitless degree of touch, her pedal became an eloquent force and her conception of the music quite overwhelming.”
- Washington Post
“With Evelyne Crochet, we became acquainted with a pianist of considerable importance. [Her] masterly playing fascinated [us] with her clarity of form, impressive power and great energy.”
- Arbeiter Zeitung (Vienna)
“Musical to her fingertips and endowed with an impeccable keyboard technique.”
- London Times
“There are alas no records of wife Clara playing Robert Schumann’s Piano Concerto when the work was younger by several thousand performances. But she could hardly have given a more spontaneous, fresher-sounding reading than did Evelyne Crochet with the London Symphony at the [Royal] Festival Hall last night.”
- London Daily Telegraph
“[I]n Debussy’s demanding two books of Etudes, Crochet played splendidly in what seemed to be complete comfort. She had all the necessary technical resources to play these pieces. But each etude had a clear musical character and she never made a musical compromise. . . . [She then] played the US premiere of a work by Henri Dutilleux, ‘Le Jeu des Contraires’. . . . [It is] music of episodic and improvisatory character that clearly had captivated her. [She] played it beautifully. . . .”
- Anthony Tommasini, Boston Globe
“The way Evelyne Crochet lovingly illuminated the smallest detail and filled it [Mozart’s Piano Concerto No. 17 in G major, K. 453] with meaningful significance was exemplary. Such Mozart has not been heard for a long time.”
- Braunschweiger Press
“The piano under her fingers and at the demand of her highly personal address, is no mechanical and percussive instrument. She makes it sing with a peculiar eloquence which, though very personal, is drawn soberly and thoughtfully out of the material she plays. So it was with the Bach Toccata in D Major, the Liszt Petrarch Sonnet deliciously atmospheric, and the Dante Sonata summoning up the thunders and evoking the shadows masterfully. It was playing of poetry and passion.”
- Kansas City Times
“She has undeniable technique, a sensitive ear for color and that harmonic perception which permits her to think of music in terms of key relationships.”
- Montreal Star
“In Ravel’s Piano Concerto, Evelyne Crochet played with technical virtuosity, rhythmical charm and all possible wit, finesse, radiance and glitter. She and Rafael Kubelik were heartily applauded at the Herkulessaal.”
- Muenchener Merkur
“An immensely gifted artist, Miss Crochet’s playing is marked by a beautifully controlled lyricism. [In Schubert] Miss Crochet brought such a fresh delicacy to each repetition that one would have been satisfied had they been twice as long.”
- Musical America
“A sensitive artist of a kind too rare these days, combining a musical awareness with a polished technique.”
- Ottawa Journal
“A great and absolute tone, intelligence and genuine poetry marked the playing of this extraordinary artist.”
- Berner Tagblatt