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A seemingly stupendous manual technique combines in his playing with the kind consummate inner peace that ensures the success of every problematic, aimed at designing dynamic interpretational difficulty.
Frankfurter Allgemeine Zeitung
Gentle lyricism, relaxed declamation, but funny Tempo: A breath beraubendes concert pianist Stefan Arnold
In Schumann’s “Kreisleriana” op. 16 is a powerful technology, differentiated stop culture and stormy expression linked to a masterful interpretation.
Kölner Stadt Anzeiger
A particularly captivating experience was hence Arnold’s interpretation of Davidsbündlertänze whose nervous Much shape he knew far more than the sensible soul dichotomy addition with intermediate tones that hinted at Schumann’s great inner wealth.
The clarity of the artistic will, the intellectual heights flight and the force of the statement, not least of course the brilliant playing technique very impressed.
He developed a dynamic and sonority stop differentiation in technical perfection that made this 4th Piano Concerto by Beethoven to highlight of the evening
Arnold was able to captivate by the atmospheric mozärtliche ease with the peculiar melancholy this late Piano Concerto in B flat major K. Association 595th
Arnold presented by the piano of his own view of Piazzolla’s reinvention of the Tango: All sonic possibilities of the grand piano taking advantage, with great rhythmic freedom Arnold pointed the four piece “Estaciones Portenas” too late foothills romantic-poetic piano literature to. What can mean at the same time utilization of all dynamic reserves maximum sonority and eloquence, Arnold made at Liszt’s “Chapelle de Guillaume Tell” clearly … His differentiation possibilities what stopper colors and audibility complex sonic structures is concerned, Stefan Arnold had proved at the beginning: With crystal clear, every flight negating in vague Pedalisieren look at the first issue of Claude Debussy’s “Images”. Such inspiring, in the program selection original concert evenings wish you more often.
The phrasing of Stefan Arnold did not miss a nuance, he stopped us no proof of its absolute perfection guilty … Stefan Arnold has this rare power, these tamed force that makes us think irresistibly of Sviatoslav Richter … ”
Illuminate this cosmos of the Vienna Mozart’s piano concertos last detail – that was a compelling business card piano artist.
Der Standard, Vienna
In Mozart’s E-flat Piano Concerto showed Stefan Arnold flying colors, subtle dynamic gradations, superior musicianship.
Kronen Zeitung Wien
The vocal especially in this Mozart concerto him very congenial. He knows how strong contours phrasing, ingratiating and yet unverkitscht to demonstrate the melodic guidelines with high transparency.
Wit and seriousness: just this happy mixture characterizes his game: superior, stylish, stroke technically controlled dynamically through differentiated, intelligent in expression with a feeling for the long haul, but also for the sudden attack.
Synthesis of magic and energy – subtlety, sophisticated sound and sense of form with force without forcing up too quickly changing pianissimo without sentimentality … great and compelling wholeness effect, clear, powerful and elegant flowing noble art in the service of expression.
Sydsvenska Dagbladet, Malmö
The word “cultured” would apply in Mozart’s Piano Concerto no. 12. Stefan Arnold acted as a perfect counter-partners and it was a memorable performance. The Andante reveled in sweet sound full magic and charm.
Dagens Nyheter, Stockholm
Arnold played rich in expression. He actually detected the heart of Brahms’ Piano Pieces, op 118th; This was due to diverse type the purest type of music I’ve ever heard ..
The Irish Times
Few pianists have charisma to dominate the audience and without batting an eyelid to keep it in tension during the entire concert. Stefan Arnold is one of those rare, perfect artist.
El Heraldo de Mexico