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Daniel Gaisford

  • Cellist

Reviews

Daniel Gaisford press reviews

"Michael Hersch's Sonata No.1 for Unaccompanied Cello, an arching 35-minute work that amply repays the considerable demands it makes on a cellist's technique and interpretive imagination. Daniel Gaisford's spectacular performance was particularly gripping in the work's extroverted finale."

New York Times

Michael Hersch's Sonata No. 2 for Unaccompanied Cello Romaeuropa Festival

Andante

Las Vegas Performance of Elgar Cello Concerto


The cello by itself has hardly ever resounded so brilliantly as in Hersch's Sonata No. 2 for Solo Cello as performed by Daniel Gaisford; arresting ideas and sonic miracles piled in one upon another for nearly 50 minutes in this, the closing work of the concert.

Star-Telegram (Van Cliburn Institute / Modern at the Modern


Before intermission, cellist Daniel Gaisford brought showmanship and flair to the Saint-Saens Concerto No. 1 in A minor, the more popular of the composer's two concertos for the deep-voiced string instrument. Performing on his 1706 Matteo Gofriller cello, Gaisford had no trouble projecting his sound during the work's tricky double-stops, arpeggios and harmonics. His mature musicianship polished the virtuoso piece to a high sheen, especially during the effective pianissimo passages. For an encore, Gaisford sailed smoothly through Saint-Saens' beloved "The Swan," accompanied by Kahane on piano.

Santa Rosa Symphony


"Daniel Gaisford brings the (Hersch) Sonata No. 2 for unaccompanied cello to life with astonishing virtuosity and (particularly in the elegiac fourth movement) a haunted lyricism ideally suited to Hersch's sombre muse."


Time Out Magazine (cd review)


"In Haydn's Cello Concerto, Gaisford unleashed a passionate performance that crackled with electrical energy and had the faint-hearted in the audience complaining of too much voltage. Let them complain! These notes were meant to sparkle and Gaisford made them glitter."

Washington Post

"The mood became even more serious as cellist Daniel Gaisford began Edward Elgar's "Cello Concerto," composed in the wake of World War I. He extended his sounds to great depths - in range, in tone color and in emotion. His shaping and pacing of the sound was personal, lifting spirits where possible, but also settling into a sense of despair. In this troubled atmosphere, the gorgeous third movement extended Gaisford's sound with a comforting embrace of the full string section. His yearning cadenza moved out of this nostalgic reverie to the well-timed mix of moods in the last movement. With the orchestra always supporting but not overpowering, it was definitely a performance that one would like to hear again."


Virginia Symphony

 

"Cellist Daniel Gaisford brought his 1706 Matteo Goffriller cello to the stage next in Haydn's Cello Concerto and Tchaikovsky's Pezzo Capriccioso.  Gaisford played with a great warmth, the hallmark of the cello, and created expressive melodic lines, sweeping of the accompaniment. The tone of this instrument resounded through the hall, even in the quiet moment when one might expect to lose the sound.  The Haydn was beautiful, elegant and musically perfect.   In the Tchaikovsky, Gaisford found a place to demonstrate his virtuosity in terms most people understand.  He played fast, furiously, accurately and emotionally, and brought on a standing ovation which he answered with a little piece he composed for his 8-month-old nephew.  It was a gentle tune with accompaniment, all pizzicato."

Fresno Bee 


"What followed was an outstanding performance of the Schumann Cello Concerto, with Daniel Gaisford as soloist.  Seldom has a cello sounded more beautifully than it did in Gaisford's hands. He truly is a world-class performer.  He made his cello sing.  Gaisford also goes for the large gestures,  whether they are dramatic, lyrical or playful.  It was sheer joy listening to him perform. The Schumann concerto, in one movement with three clearly defined sections, is an exciting work, very melodic and also very dramatic. The concerto is filled with the lush romantic harmonies that one would expect from Schumann,  one of the key figures in German romanticism, and Gaisford is undoubtedly the supreme interpreter of this work.  This was quite simply heavenly."

The Deseret News 

"The soloist was cellist Daniel Gaisford.  The Salt Lake City-raised musician-made-good stole the spotlight with Robert Schumann's Cello Concerto. Gaisford conferred an intimate grandeur to the opus. Schumann's only concerto for the cello presents the soloist some technical hurdles that are not always apparent to the casual listener. But Gaisford effortlessly tossed them off.  The young soloist was most impressive with his mature command of phrase sculpturing and his cognizance of the concerto's larger architecture.  Gaisford's virtuosity never hindered his immaculate control over every aspect of the composition's production.  For an encore, Gaisford generously gave his audience Bach's G Major Prelude.  This unaccompanied jewel underscored Gaisford's profound talent- a talent that suggests a long international career."

The Salt Lake Tribune