Berenice Christin Terwey
Berenice Christin Terwey press reviews
Debut Philharmonic Orchestra of Mexico City
Gala concerts to mark International Women’s Day
Women like angels
Would that be paradise?
… In the following moments there was no shortage of heavenly nature. From the very beginning, we saw other angels coming, wrapped in bright colours, with Asian features and the form of ballerinas.
It was the Terwey sisters, who were appearing for the first time in our concert hall (Philharmonic Hall Mexico City, Sala Silvestre Revueltas) to interpret the Double Concerto by Felix Mendelssohn-Bartholdy. Written at the age of fourteen, Mendelssohn’s composition from the period of his first symphonies for strings already reveals the cheerful and easy spirit that earned him his reputation as the “Mozart of the 19th Century”.
In view of the balance in the dialogue between solo violin, solo piano and the string orchestra, one could also call the work of the German composer a triple concerto. It was perfect for showing the sisters’ talents - seen both in the solo and in the duo passages - in all their glory.
The Terwey sisters’ perfect, convincing, eloquent phrases danced through the hall “Silvestre Revueltas” like swans.
At the end, the audience was extremely enamoured, and eager to enjoy the duo’s chamber music skills. The encore then came in the form of a dance by Johann Strauß – music that went extremely well with their presentation and appearance. We also most definitely want to hear them give a duo recital. ..
There remains no doubt in the belief that paradise would be perfect with angelic women.
Opus 94 Mexico, Oscar Edwin García
Picasso in Notes
Ovations for the Duo Terwey
Even their names sound like music from times gone by: Philomela Eva and Berenice Christin Terwey. Already with their entrance on stage, before the sold out city hall in Kehl on Friday, the two Terwey sisters fascinated with their elegance like two poppy blossoms in red. The two Germans of Korean birth enjoy growing adoration in the world of classical music, especially as a duo, but also as soloists.
The two artists provided a magnificent visiting card with Mozart’s Rondo in C major K. 373. Already here Berenice Christin Terwey impressed with her safe left hand and safe bow technique and the extensive dynamic spectrum and intensive sound quality, which she managed to lure from her Stradivari. Pianist Philomela Eva Terwey showed herself as an artist of breathtaking technique.
The will to interpret
The sonata „Kreutzer“ (Beethoven), a heavyweight in the solo chamber music and the ninth of ten sonatas …, takes a special place. … The Terwey-sisters unfurled this unsettling music before the audience with the greatest of devotion and concentration. Grand piano and violin entered into an intimate dialog and stood side by side in dominance, liveliness and animation, and convinced with technique and the will to interpret.
Picasso in notes
The second part of the concert was opened with the lively "Suite italienne" by Igor Stravinsky, whose harmonic tones surely did not contribute to the Russian composer’s reputation as a "people shocker". The "Suite italienne", which launched Stravinsky’s decade-long neo-classical period, is often played pretty tamely. The duo transformed it into a surreal masquerade - a Picasso in notes. Their technically brilliant account was intoxicating by its musical intensity. Rarely rare one can hear such harmony in two artists.
If the Terwey’s managed to convince with their stylish and technical qualities, they displayed their temperament in the "Gypsy Airs" op. 20 of the Spanish violin virtuoso Pablo de Sarasate with a thoroughbred-interpretation. The virtuosity of the solo parts challenges every violinist. Berenice Christin Terwey delivered the breakneck-speed passages, chords and effects of her solo with elegance and fluency - a virtuoso show-piece for the world-class soloists.
In the end the audience seemed to have forgotten time - but then reacted with thundering applause and bravo- calls.
Oscar Sala, Badische Presse, Culture
Thunderous standing ovation for world-class performance
The 7th concert of this season presented a special musical event which it would be churlish not to praise. The sisters Berenice Christin Terwey (violin) and Philomela Eva Terwey (piano) offered an interesting and demanding program.
It‘s no secret that the best way to play Debussy well is to simply read the score and do what Debussy tells you to. Terwey sisters did this. With a mix of supreme delicacy and wonderful inventiveness and inspiration, they realised Debussy‘s late violin sonata in G minor to perfection.
Brahms‘ sonata no 1 in G major showed a rich and sublime playing of exquisite beauty and feeling. Terweys brought to this music a lyricism which was devoid of any sentimentality. Each phrase was smoothly executed and flowing, while the big dramatic moments were not slighted. This interpretation may be closer to Brahms‘s own aesthetic than the current style of projecting intimate chamber music to large concert halls which didn‘t exist in Brahms‘s time.
After the interval, Schumann‘s sprawling D minor Sonata which is full of interpretative and pianistic problems allowed the pair to demonstrate once more their boundless emotional world as well as their artistic telepathy as they interweaved their individual and collective lines. In this work, Schumann is playful, massive, rustic, fragmentary, melodious, profound and sensitive by turn; one has little time to settle into a particular mood, instant changes of emphasis
are demanded. The performance today was immaculate, in total control of everything the sister pair wanted to accomplish.
The audience made not a peep until exploding in applause at each sonata‘s end.
After thunderous standing ovations, the young musicians said goodbye with two encores, a lively Hungarian Dance by Brahms and the atmospheric „Caprice Viennois“ by Fritz Kreisler.
A World Class Performance
The second Master Concert presented a superlative chamber music evening in a class of its own. The delightful sister-duo Berenice and Philomela Terwey performed Mozart, Brahms, Messiaen and Schumann with world class brilliance.
The programme was opened with the Rondo in C major for Violin and Orchestra (piano) by Mozart. Ethereal, swathed like a wonderful splash of colour in a red evening dress … Berenice Christin Terwey played this beautiful work with an almost self-absorbed oblivion to the world around her.
The Sonata for Violin and Piano Nr. 2 op100 by Johannes Brahms proved to be a further shining light in the programme. The music and style of Brahms are governed by a yearning and melancholic introspectiveness that best evolve in an atmosphere of quiescence - and Berenice Terwey captured this enchanting intimacy and ardour to perfection. The exquisite tones of this great Hamburg composer flourished during the course of her performance and even the most difficult passages were accomplished with an effortlessness.
Philomela Terwey appeared as the perfect accompaniment on piano, poised, empathetic and in harmonious rapport with the violin. The numerous listeners delighted in this beguiling interpretation of Brahms right through to the very final note.
Olivier Messiaen’s Thème et Variations was a further highlight. The compositions were impressively performed by the two artists – every nuance perfectly harmonized. This exceptional composition was experienced by an enraptured audience, filled with an admiration for the unbelievable rendition.
Following intermission, the programme was rounded-off with the majestic resonance of a voluminous piece by Robert Schumann - the Sonata Nr. 2 op.121. This grand, sweeping work is received by the listener as well-nigh pompous and compacted. It is one of Schumann’s later works and seldom included in a concert programme. The artists imparted an outstanding musical experience with a scintillating energy, power and intensity that was sustained through to the finishing note.
The audience was enthralled.
Die Glocke (Gütersloh), Friedemann Kruhl