©Pilvax
“A violinist of mature musicality and deep understanding of his repertoire whose playing is distinguished by clarity of form and line.”
~ Musik Heute
“Superlative musicianship and beautiful sound”
~ Washington Post
“McCarroll’s [Brahms concerto] was probing in its depth of expression yet elegantly sung out.”
~ San Francisco Classical Voice
“A keen blend of energy and elegance.”
~ Cleveland Plain Dealer
“What a performance! The foursome — violinists David McCarroll and Joel Link, violist Hélène Clément, and cellist Marcy Rosen — played with near-flawless technique, rapport, and pacing. Just as important, there was a gripping sense of drama throughout the performance that almost came unhinged during the Grosse Fuge. This was, quite simply, one of the most exciting Beethoven performances I can remember hearing.”
~ Boston Globe on Beethoven’s Quartet Op. 130 with Große Fuge at the Marlboro Music Festival
“McCarroll displayed an ingenious range of dynamics, masterful lyricism, and faultless technique”
~ San Francisco Classical Voice (Beethoven Violin Concerto)
“A great talent who plays with an impressive depth of feeling.”
~ IndieLondon
“After [Beethoven Violin Concerto’s] long orchestral introduction, the entrance of violinist David McCarroll had an indescribable sweetness, never saccharine, but with exquisite purity of tone. Mr. McCarroll plays with elegance and great depth, as well as a flawless technique that allows him to express what he feels in the music from 1806.
“Near the end of the first movement it was startling to hear an altogether different cadenza from what one usually hears, and percussion playing was part of the cadenza, joining the violin solo in a way that was utterly new to me. Research revealed that it had been the cadenza used in the piano version of this piece in which Beethoven himself was the soloist, and is rarely performed. Timpanist Tyler Mack’s playing was a crucial component of this work and he played with exquisite precision as Mr. McCarroll demonstrated his virtuosity and musicality.
“The second Larghetto movement, dreamy and lyrical, found the woodwinds providing support and melodic lines of their own, and flowed beautifully. Near the movement’s end another short transition cadenza lead into the whimsical theme of the last movement, and showed the humor that generated quite audible audience chuckles. It was a thoroughly delightful performance. Mr. McCarroll, while brilliant with the bow, did not depend on brilliance alone, but on the sweet and understated expression that left many of the 500 in the audience leaning forward in their seats to catch every subtle nuance.”
~ Classical Sonoma