Latest News

MOZART 16 SONATAS, CD RELEASE FEBR 2018

On February 2017 Centaur Records will release our recording of Mozart's 16 Violin Sonatas on a 4 CD set.

NEW ARTICLE PUBLISHED ON THE STRAD!

My new article on Alexander Technique was published on the December issue of The Strad.


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INTERNATIONAL CLASSICAL MUSIC AWARDS NOMINEE

Our Piazzolla recording "Legacy" was nominated for the International Classical Music Awarsds 2018 in the chmaber music catergory. The disc also received the 'Supersonic' award from Luxemburg's 'Pizzicato' and has received excellent reviews.


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NEW NAXOS PIAZZOLLA CD RELEASE 10/13/2017

Naxos will release on 10/13/2017 my new CD: Piazzolla 'LEGACY'

 

APPOINTED VIOLIN PROFESSOR PSU Portland

Following a national search, the School of Music at Portland State University has selected Tomas Cotik to join its outstanding faculty as an Assistant Professor of Violin.

 

“I highly commend Mr. Cotik for his innovative interpretations and I hope many future audiences will  experience his musical excellence”

Gary Burton

“I find the Cotik and Lin performances most interesting and the sound on their disc is excellent”

Maria Nockin – Fanfare Magazine

“outstanding from the very beginning”

Fanfare Magazine

“phenomenal technique”

Musical Toronto

“bemerkenswert, kunstvolle und expressive Interpretationen...auf hohem Niveau und den jeweiligen Stilen perfekt angepasst”

PIZZICATO

“their lofty musicianship dwarfs their profound scholarship”

Fanfare Magazine

“urgently recommended”

Fanfare Magazine

“The technical qualities of the recording - which is on the NAXOS label, by the way - are excellent.”

Robert W. Plyer, THE OBSERVER

“perfectly conceived”

Fanfare Magazine

“Cotik transcends even the profoundly meditative”

FANFARE MAGAZINE

“una nueva forma de mirar, entender y percibir la música de diferentes épocas”

SONOGRAMA MAGAZINE

“recreating the visceral charge of Piazzolla’s legendary quintet concerts and recordings”

South Florida Classical Review

“A neglected stash of unrecorded Schubert”

NORMAN LEBRECHT

“intelligent and sensitive...glories in...colorations and shared emphasis”

Fanfare Magazine 

“Hace muy poco descubrí esta maravilla...dos extraordinarios instrumentalistas que uniendo su talento logran...algo genial.”

Luis Andarcia, VENUE MAGAZINE

“brilliant Argentinean violinist”

David Denton for David’s Review Corner

“violinist Tomas Cotik is always up for a new challenge”

Julia Amacher – American Public Media

“clarity and tonal opulence rare in recordings of violin music”

Fanfare Magazine

“conviction, commitment, diplomacy, and character”

The Strad

“My first chamber choice for the year.   ”

MUSICWEB INTERNATIONAL Recordings Of The Year 2013

“Evocative concert of Jewish classical music”

The Washington Post

“uplifting quality”

MusicWeb International

“None of these pieces has ever sounded quite like this before....Cotik handles it beautifully, with tremendous clarity of line and evenness of tone”

INFODAD.COM

“This is an excellent recital. I enjoy the Piazzolla Tango Etudes more as played by Cotik than by anyone else. ”

American Record Guide

“Some of the music is sultry while other works are fast, rhythmic, and ornamented to show the exquisite virtuosity of Cotik”

FANFARE MAGAZINE

“un violinista excelente... que recoge una forma rigurosa, natural y fuera de lo común de entender e interpretar la música”

Docenotas

“excellent style, which is not frequently found”

Daniel Binelli

“Everyone who plays these works should hear these exemplary performances...you will never hear these Telemann Fantasias played so well  ”

American Record Guide

“un trabajo de mucha calidad, por la originalidad de los arreglos y especialmente porque se trata de un excelente instrumentista”

REVISTA RITMO

“None of these pieces has ever sounded quite like this before.”

INFODAD.COM

“I marvel at the technical skill which effortlessly encompasses these deeply contrasting styles....a technical as well as expressive master stroke”

CONTEMPORARY RECORD SOCIETY

“The Piazzolla album is not just Cotik as brilliant interpreter, but also as creative mind.”

Musical Toronto

“Overall, these two discs featuring Cotik must be regarded as among the finest performances for their consistent artistry and idiomatic grasp”

Classical Net

“should leave listeners almost breathless…a vibrancy and attention to detail...strong individuality and… vitality”

Fanfare Magazine

“this is one of the great Piazzolla discs, and in perfect sound quality, I urge you to buy it.”

David Denton for David’s Review Corner

“Cotik and Tao Lin have…honored not only their professions as musicians, but the memory and work of Franz Schubert”

The Palm Beach Arts Paper

“excellent violin playing...extremely enjoyable interpretations of music that I love”

American Record Guide

“I was immediately impressed by their virtuosity and also their understanding of Piazzolla’s music. I was anxious to see them perform in person”

Gary Burton

“I’ve had a listen to a few alternatives…including Isaac Stern with Daniel Baremboim and Lydia Mordkovitch, but this duo pretty much ticks all the boxes”

MusicWeb International

“exceptional...Piazzolla can be played differently than this, but provably not better.”

​DOWNBEAT MAGAZINE

“a treat from start to finish”

Musical Toronto

“un disco la cui qualità riesce a proporre la freschezza affascinante della cultura musicale germanica come nuova, come se non si fossero mai ascoltate prima”

GBOPERA MAGAZINE

“wonderful album…impressive for the elegance and sensitivity of the interpretations”

John Terauds – Musical Toronto

“laudable level of technical accuracy…tenderness and warmth”

The Palm Beach Arts Paper

“unusual depth and broad compass...absolutely brilliant... unmistakable vitality...optimally recorded”

Audio Video Club of Atlanta

“among the very best Piazzolla albums”

David Denton for David’s Review Corner

“an excellent violinist”

Michael Tilson Thomas

“Un disco revelador de la maestría de los jóvenes intérpretes que lo firman: Tomas Cotik y Tao Lin.”

REVISTA DOCENOTAS

“If you love the solo violin, you won't find a better recording to suit your tastes”

OBSERVER TODAY

“true treasure...one of the latest gems to emerge from the season”

John Terauds – Musical Toronto

“Cotik phrases this music with such feeling, making you wonder if it could possibly sound better in any other performance.”

Classical Net

“there is no question that this disc is, by some distance, Naxos's best Piazzolla recording ”

MusicWeb International

“this superbly produced Schubert disc…comes warmly commended”

MusicWeb International

“absolutely impeccable, with intonation in the centre of every note, and his left hand flying around the fingerboard with remarkable agility”

David Denton for David’s Review Corner

“The BBC Music team’s current favourites”

BBC MAGAZINE, Niel McKim

“Las versiones son óptimas por la compenetración estilística del dúo y la prestancia instrumental del admirable violinista”

REVISTA SCHERZO

“an exemplary presentation of some marvelous music”

The Palm Beach Arts Paper

“a musician who prepares thoroughly and has great respect for the music he performs”

The Palm Beach Arts Paper

“Cotik makes Kreisler seem almost smarmy, Isabelle Faust almost mannered, and Julia Fischer as though she's filed down the detail”

Fanfare Magazine

“Cotik vanta un violinismo costantemente brillante e un colore di suono caldo e avvolgente”

GBOPERA MAGAZINE

“this is clearly a team to watch. I am sure we will be hearing good things from them in the future”

MusicWeb International

News and Reviews

MusicaClasicaBA, Dec. 2017

Con motivo de recordar el 25 aniversario del fallecimiento de Astor Piazzolla el violinista nacido en Argentina Tomas Cotik y el pianista americano de origen chino Tao Lin prosiguen con grabaciones de obras de este genial compositor.


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Klassik.com, Nov. 2017

Zwei junge Musiker aus den USA legen mit ‚Legacy‘ ihre zweite Piazzolla-CD vor. Darauf sind sehr bekannte Titel mit weniger bekannten gut gemischt. Im Zentrum stehen die 'Cuatro estaciones porteñas', die Vier Jahreszeiten....  ist zweifellos ein guter Geiger mit einer langen Erfahrung in Kammermusik und Orchesterspiel und hat darüber hinaus über die interpretatorische Aspekte bei Schubert promoviert.


Zusammen mit seinem Duopartner versteht er Piazzolla offensichtlich vor allem als klassischen Komponisten und legt sein Hauptaugenmerk auf die klangliche und technische Sauberkeit im Spiel – Sympathisch ist, dass die Musiker auch Titel mit aufgenommen haben, die weniger bekannt sind ('Escuardo', 'Vardarito', 'Fracanapa'). Dafür ist aber auch das unvermeidliche 'Adiós Nonino' mit dabei. Gerade hier wirkt die zurückgenommene Art der Interpretation aber sympathisch – das Stück ist an sich schon so emotional an der Grenze zur Sentimentalität, dass man da interpretatorisch nicht noch etwas obenauf satteln sollte. Auch die 'Balada para un loco' rührt an, vor allem durch den gesprochenen Text des uruguayischen Poeten Horacio Ferrer, wobei der Sprecher das typische Spanisch eines ‚Che‘ (wie die Argentinier wegen ihres italianisierten Spanisch in Lateinamerika genannt werden) benutzt und damit auf die Emotionen der Musik, die hier eher im Hintergrund agiert, noch eine besondere Farbe draufsetzt.


Elisabeth Deckers

Sonograma Magazine, Nov. 2017

Tomás Cotik, profesor adjunto de violín de la Universidad Estatal de Portland, nació en Argentina, es uno de los imprescindibles del Suplemento de discos de Sonograma Magazine...El excelente violinista, así lo contamos en cada reseña de sus nuevas grabaciones, hace dúo con el pianista Tao Lin, y para esta ocasión nos presenta esta selección de temas con una instrumentación variada a cargo de Jeffrey Kipperman, Alex Wadner, Bradley Loudis y Alfredo Lerida.

Los músicos de este grupo camerístico exponen melodías que dan paso a muchos sentimientos entremezclados sobre Buenos Aires. Es notable el rigor interpretativo de Cotik y Lin, que juntos realzan las partituras de Piazzolla en estos exquisitos arreglos, realizados por el propio Cotik. Un disco ideal para quien se quiera acercar al mundo de Astor Piazzolla.


Núria Serra


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Textura - Spotlight, Nov. 2017

textura is delighted to feature the following artists in its twenty-third ‘Spotlight': The Carn Davidson 9, Tomás Cotik, Søren Nissen, and Mikkel Ploug, all of who have issued superb new albums:


Who: I was born and grew up in Buenos Aires. My early interest, as well as the main focus of my career, has been on classical music, the Viennese classics, in particular. People around the world associate the tango with Argentina, but when I was growing up, the traditional tango was not exactly fashionable or ‘cool' for people my age, and perhaps classical music wasn't either. I would mostly hear tango in the background; it was present on TV and on the radio. I remember listening to it, played by busking bandoneon players or on an AM radio program.


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Textura, Nov. 2017

It says much about Tomás Cotik's playing on this Piazzolla homage that it pretty much matches the phenomenal playing of Fernando Suárez Paz, the Nuevo tango master's last violinist—no small accomplishment. But if anyone is capable of doing so, it's the Argentinean-born Cotik, who's lived and breathed Piazzolla's music for the better part of his life. 


There's no question Cotik possesses the technical facility to play these pieces, but to do justice to Piazzolla more must be done than simply play the notes on the page; what's critical is to capture the feeling of his music, and on that count Cotik excels. The expansive emotional terrain embodied by Piazzolla's compositions, from romantic tenderness and longing to violent passion, are rendered rapturously by Cotik, and it's this that argues most vehemently on behalf of Legacy. His virtuosity and singing tone are displayed to glorious effect throughout the hour-long recording, whether it be the high-energy syncopations of “Escualo” (Shark) or the romantic languor of “Vardarito,” the former titled in tribute to Paz and the latter after violinist Elvino Vardaro, a member of Piazzolla's Octet and his first Quintet during the late ‘50s.


Among the standouts is the beautiful “Milonga del ángel,” surely one of Piazzolla's most adored compositions. Lin's value is perhaps most apparent here, specifically in the way he replicates the original arrangement's bandoneon part while Cotik delivers the lyrical lead with heartfelt conviction; lovely too is “Introducción al ángel,” which the duo and Kipperman render in stately manner. One imagines the Nuevo tango master would be as captivated as any listener by such exquisite performances.


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Cinemusical, Nov. 2017

Tomas Cotik and Tao Lin return to the music of Argentinian composer Astor Piazzolla (1921-1992) in Legacy.  The release pulls together special arrangements for violin and piano of ten of the composer’s works


Things kick off quickly with “Escualo” (“Shark”), an almost scherzo-like, driving work with a brief moment for melodic relaxation.  A more sensuous selection, “Vardarito” follows which soon moves rather quickly into some of the noted rapid passage work.  The pieces have these sort of instant improvisational feel to them and is one of the hallmarks of Piazzolla’s musical appeal.  A bit of percussion and double bass lend this a bit more jazzier flare.  These shifts between raw energy and lyrical beauty can make the music seem a bit melodramatic but this is part of the general style as well.  Even in the languid “Milonga del Angel” the tango rhythms begin to slowly pull the energy forward.  The pieces are a good blend of favorites exploring the sheer variety of Piazzolla’s melodic gifts. The release is certainly a nice addition to the Piazzolla discography of which there is certainly plenty, but this makes for an excellent hour of engaging and excellent energetic performances.


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The Art Music Lounge, Nov. 2017

Cotik Kicks Butt in Piazzolla!


Perhaps one reason I liked these performances so much was that Cotik and Osvaldo Calo arranged these pieces for violin, bass and piano, but surely the main reason is that Cotik is a hell of a violinist who plays with tremendous vitality and rhythmic acuity. In his very able hands, the music practically jumps off his bowstrings, and in the process, both he and pianist Tao Lin sound as if they’re practically dancing as they play...the slow, sensual Milonga del ángel for a good example of how well Cotik can draw a sweet legato from his instrument, equaling anything that such masters as Yehudi Menuhin or Jascha Heifetz did in their prime. In addition, he injects a feeling of lightness and fun into the proceedings that most classical fiddlers simply cannot, with the possible exception of Gilles Apap of the Transylvania Mountain Boys.


I do hope that Cotik will consider it a compliment when I say that his playing reminded me of such jazz masters of the violin as Joe Venuti (especially) and Stéphane Grappelli. Certainly, Menuhin himself thought Grappelli one of the greatest violinists of his genre, so much so that he played with him, both in public and on recordings, for a decade. If Cotik ever turned his attention to jazz violin, he’d have absolutely no trouble swinging.


When I say that Cotik reminds me more of Venuti than Grappelli it is due to two factors. First, the looseness of Venuti’s rhythm was always a shade wilder and less inhibited than Grappelli, and second, Cotik, like Venuti, has a slightly thinner and brighter tone quality. This is not a negative quality; by employing a somewhat thinner tone, Cotik is able to loosen the rhythm easier and more naturally. Indeed, most classical violinists (and cellists) cannot swing because they are so tone-focused that they can’t loosen the bow tension enough to make their instrument “fly,” and you absolutely have to do this in order to achieve this kind of sound.


As for the music, it’s delightful because of how Cotik plays it. Cotik, Lin and the percussionists close out this set with the effervescent Fracanapa, which moves like a freight train from start to finish. Cotik is at his most daring here, pulling on his violin strings and hitting them with the edge of his bow, and the music practically jumps at you.


A wild and wonderful CD. I’m so glad I decided to review it!


Lynn René Bayley


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New Classical Tracks, American Public Media, Oct. 2017

Violinist Tomás Cotik grew up in Piazzolla's homeland of Argentina. Cotik moved away at age 18, studying, teaching, and performing in Canada, Germany and the United States. Cotik's new recording takes him back to his homeland, as he celebrates the legacy of Astor Piazzolla.


Julie Amacher


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Culturalmente Incorrecto, Oct. 2017

Five Stars


"Astor Piazzolla: Legacy". Un nuevo álbum imprescindible sobre la música del gran maestro del Nuevo Tango.

Naxos USA acaba de lanzar al mercado americano la edición en formato de Audio CD “Legacy”. Celebrando el 25 aniversario de la muerte de Astor Piazzolla, el violinista argentino Tomás Cotik y el pianista chino-americano Tao Lin continúan sus aclamadas performances del Nuevo Tango con más de las composiciones más ricas y excitantes de Piazzolla. Previamente ya habían grabado para Naxos Records “Tango Nuevo”, lanzado por Naxos en 2013 y que obtuvo excelentes críticas por parte de la prensa especializada.


“Legacy” es un álbum sin desperdicios, disfrutable de principio a fin y para escuchar una y otra vez. El perfeccionismo y calidad interpretativa de Cotik y Lin realza las partituras de Piazzolla en estos nuevos arreglos (exquisitos, realizados por el propio Cotik) y los conduce a un nivel aún superior. Un álbum profundo y sentimental que cala hondo en quien lo escucha. Un pedazo de Buenos Aires a través de su música más excelsa. “Legacy” es, sin dudas, un álbum para emocionarse y escuchar continuamente. Excelencia pura. Imprescindible!


Javier Mitchell


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Pizzicato, Oct. 2017

Winner of the Supersonic Award


Der argentinische Geiger Tomas Cotik, der chinesisch-amerikanische Pianist Tao Lin und ihre Tango-Gruppe haben mit dieser Produktion eine sehr sinnliche Tango-CD produziert, in der Piazzollas Musik ebenso sehr Lebens- und Erlebniswillen in Endzeit-Eleganz ist als Nostalgie, Tristesse und… Trotz. Unbekümmert klingt hier nichts, vor allem nicht in Cotiks phänomenal sinnlichem Geigenspiel. Nackter Tango als tief empfundener, leidenschaftlicher Abgesang, der eine Substanz freilegt, die man bei Piazzolla in dieser Form nicht kannte. Eine spannende, eminent musikalische, ja eine regelrecht berauschende CD auf sehr, sehr hohem künstlerischem und spieltechnischem Niveau.


Tomas Cotik’s Piazzolla is carnal, passionate and nowhere easy-going. Together with his group he has produced a riveting CD.


Remy Franck


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Violinist.com, Oct. 2017

For the Record, Op. 32: Tomás Cotik; Dover Quartet; Altius Quartet; Quatuor Arod


Welcome to "For the Record," Violinist.com's weekly roundup of new releases of recordings by violinists, violists, cellists and other classical musicians. We hope it helps you keep track of your favorite artists, as well as find some new ones to add to your listening!


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Vanguard, Oct. 2017

Big news from the Portland State School of Music and Theatre, as violin professor Tomas Cotik prepares to release his latest CD, Piazzolla: Legacy, on Oct. 13 through leading classical music record label Naxos. The album consists of music by Argentinian composer Astor Piazzolla and follows Cotik’s previous critically acclaimed album, Tango Nuevo, also featuring Piazzolla’s music. Professor Cotik will celebrate the release with a solo recital, “From Bach to Piazzolla,” at 7:30 p.m. on Sunday, Oct. 22 in PSU’s Lincoln Recital Hall (Room 75). The recital is free to all students, who should reserve tickets online


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David's Review Corner, Oct. 2017

Turn the clock back fifty years and I attended a concert of music by the Argentinian composer, Astor Piazzolla, played by a traditional South American touring group. It wedded me to the composer, but sadly I have seldom heard that evening recreated, his music having been arranged, rearranged and generally mauled by those wanting to use it for their own commercial purposes. Here we have it serving to display the quite remarkable virtuosity of the Argentinian violinist, Tomas Cotik, who ideally creates the steamy atmosphere of some sleazy South American dance hall, as you look through the cigarette smoke filled vista, his small group seemingly fashioning the music as the mood takes them. Notes are bent as the dancers go through the erotic actions of the tango that is the basis of all Piazzolla’s music. In a previous review of Cotik playing Piazzolla, I begged the question, was Piazzolla composing ‘Classical’ music? That was his oft stated intent, but here we have ‘Classical’ musicians sending it in reverse, with jazz the dominating factor. There is the well-known Milonga del angel; the highly emotional, Balada para un loco; seductive Jeanne y Paul from the film, Last Tango in Paris, and my particular favourite, Las cuatro estaciones portenas. They are all quite superb, and if you want Piazzolla played by a violin, piano, double bass, and percussion, this has to be one disc you cannot afford to miss. 


David Denton


 

The Oregonian, Oct, 2017

Portland violinist pays tribute to a tango composer and fellow Argentinian


Violinist Tomas Cotik may never become a tango dancer, but he can get you to feel like one when you listen to his latest album. It's a tribute to the music of the great Argentinian tango composer Astor Piazzolla on the 25th anniversary of his death. Titled "Legacy" and released on the Naxos label, Cotik's new recording explores several of Piazzolla's most popular pieces as well as a few obscure ones...Maybe some of the secret sauce that Cotik pours into his playing has to do with being born in Buenos Aires. The 40-year-old violinist can channel the street scenes of his boyhood and stir up intangible elements...So far, Cotik has been involved in 14 CDs, some of which feature him as the violin soloist.

But recordings tell only part of Cotik's musical journey. He has been busy since he arrived in Portland a little over a year ago as the assistant professor of violin at Portland State University. In addition to his work on campus, he has visited local high school music programs and youth orchestras..."I love what I do," said Cotik. "I often work until midnight. Even when I'm on vacation, I have to find time to work on my projects, like the article on violin technique that I'm finishing for The Strad magazine"..."I feel very lucky to be in Portland and to have fulfilled my dreams, teaching and recording and performing," he said. "I want to help students get closer to their dreams."


Shion Yamakawa, concertmaster of the Portland State University Symphony and recipient of the David E. Wedge Music Scholarship for music majors, feels Cotik's guidance has been beneficial. "I like studying with Dr. Cotik because he inspires me," said Yamakawa. "He has very high expectations and his work ethic is extraordinary. Dr. Cotik has helped me to truly listen to my own sound, and he has taught me that you can be the best teacher of yourself. He taught me to become more independent as a musician in terms of self-learning, time management and preparations. Dr. Cotik has helped me immensely on technical aspects as well, and my body is more relaxed now when I practice or perform."


James Bash


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Northwest Reverb, July 2017

Chamber Music Northwest topped off its weeklong celebration of music by women composers with a doozy of concert on Saturday evening (July 15) at Kaul Auditorium. Even though Smith’s piece had the the seemingly innocent title of “Carrot Revolution,” (2015) the music that she devised had tantalizingly complex rhythms and lots of brief melodic detours. Played by violinists Tomas Cotik and Rebecca Anderson, violist Nokuthula Ngwenyama, and cellist Nancy Ives, the music launched with Ives patting a pulsating beat before being joined by her colleagues in a series of slip-sliding sounds – some of which seemed scratchy. The cello led the way with a bluesy motif and another round of tapping that was followed by a herky-herky and folksy-fiddly section for the entire ensemble. Soulful melodic lines for the viola and cello, throbbing, vibrant passages for the foursome, and a hypnotic section that sounded as if the entire collective were melting down and changing keys along the way – was pretty awesome. The finale arrived on a zippy note that made me want to hear it all again… or at least ask the ushers for a glass of carrot juice.


James Bash


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Oregon Artswatch, Dec. 2016

Everything is out of context at this week’s pair of Portland State University Orchestra concerts. Instead of their usual venue, PSU’s lovely Lincoln Performance Hall, the orchestra will perform at the historic Mission Theatre in Northwest Portland. Instead of standard orchestral fare, the student orchestra, led by PSU Director of Orchestral Studies Ken Selden, will play music by David Bowie, George Bizet, and Astor Piazzolla. The Piazzolla suite will feature PSU’s new violin professor, Tomas Cotik, performing Russian composer Leonid Desyatnikov’s arrangement for orchestra and violin. Cotik, an Argentinian, comes to Portland via Miami and Berlin. “Part of my understanding of this music is from my own perception of that noisy, dirty, crazy yet wonderful megapolis of Buenos Aires,” he said. “Another part is from listening to and studying Piazzolla and the older generation of tango musicians (la guardia vieja), and a good portion might be just simply a personal approach.”


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South Florida Classical Review, Nov. 2016

Orchestra Miami artistic director Elaine Rinaldi brought along just the orchestra’s string section for its 10th anniversary season opener Sunday afternoon at Scottish Rite Temple in Miami. She also brought along two fine soloists with ties to the area: violinist Tomas Cotik and soprano Eglise Gutierrez.


The Argentinian-born Cotik, a former New World Symphony fellow who has played with Florida Grand Opera and the Amernet String Quartet, performed a work close to his heart: Cuatro Estaciones Portenas (“The Four Seasons of Buenos Aires”) by the Argentinian composer Astor Piazzolla. Conceived by Piazzolla as four separate tango-like compositions and later arranged for violin and orchestra by Leonid Desyatnikov, Cuatro Estaciones Portenas challenges and engages the audience with long, dissonant passages and abrupt shifts in tempo and texture. It can sound dancey, folksy or jazzy with occasional Eastern European tints, too. Cotik applied a deep, urgent tone to the middle portions of the first movement, “Verano Porteno” (Summer) with playing that was deeply expressive. The opening bars of the second movement, “Orteno Porteno” (Autumn), call for scratchy percussive effects. Cotik executed the technique so effectively that it almost sounded as if he were sawing through wood.  


Cotik seamlessly handled the frequent changes in mood and adroitly traversed the work’s myriad technical challenges while always keeping the focus on the music. Colors were beautifully conveyed and blended throughout; Piazzolla does not paint each of the seasons with one brush, nor did Cotik. Cotik, Rinaldi and the orchestra provided impressive advocacy for a multifaceted work that deserves to be heard more often.


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Classical Net, Sept. 2016

The Harrington Quartet (Tomás Cotik & Keith Redpath, violins; Jennifer Kozoroz, viola; Emmanuel Lopez, cello), along with violist James Dunham, are right on target in each piece. I can't imagine a significantly finer performance of either quintet: in their hands this mostly light and buoyant music effervesces with spirit and energy, and with vivid color and infectious joy. Their attacks are clean and precise, their intonation flawless and gorgeous, and their tempos and phrasing well-judged and sensitive. In short, they perform as one musical body, collectively striking you as master musicians who've played together for many years... Once again, the performance is splendid... this disc is a must for Mendelssohn mavens, as well as for aficionados of 19th century chamber music... So you have two thumbs up on this splendid Centaur disc.


Robert Cummings


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Palm Bach Arts Paper, Aug. 2016

The Argentine violinist Tomás Cotik, who has made a strong career for himself with well-received discs of music by Schubert and Piazzolla, will be departing South Florida at the end of this month to take a job teaching at Portland State University in Oregon. His exit from the local scene is a real loss, but before he goes, he’ll be giving two concerts of music from his latest project, a recording of the complete Mozart sonatas on Centaur Records with the fine pianist Tao Lin.


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Review by Frank Cooper, June 2016

Yesterday’s performance by the Amernet String Quartet displayed the timelessnessof great music and the timefulness of one of our country’s best youngish-professional ensembles... the performers let us know that they had had only two hours of sleep after returning from their 17-concert tour in Israel. Who would have known? No evidence of jetlag compromised any of the performances. In point of fact, the Amernet in its newest configuration – violinists Misha Vitenson and Tomas Cotik, violist Michael Klotz, and violoncellist Jason Calloway – played with evocative sense of style, masterful technique, penetrating insight, and, importantly, enhanced maturity. They act as one, the four individuals melding their tone into a single, coherent, richly communicative, lovely sound. While not new to the ensemble, the pervasive sum-total was newly evident.


With their status as Quartet-in-Residence at Florida International University, the Amernet Quartet has risen in esteem locally, and by well-heralded tours nationally and internationally, facts that should not be taken for granted. As their numerous appearances in the Mainly Mozart Festival have demonstrated ever so amply, they have earned their eminence.


 Frank Cooper


Fanfare Magazine, May 2016

These performances are surprisingly good. The players bring a feeling of youthful freshness, even innocence, to the first of the two quintets, investing Mendelssohn’s score with a great deal of charm. The Harrington String Quartet, partnered by violist James Dunham in the quintets, demonstrates the highest degree of technical skill in executing Mendelssohn’s fleet, nimble-fingered movements, while cultivating a warm-hearted and caring approach to the slower lyrical movements…the Harrington String Quartet on this fine-sounding Centaur CD is easily recommended.


Jerry Dubins

 

American Record Guide, Apr. 2016

This is a wonderfully relaxing recording. Imagine  you're a string player, and you've invited friends over to the house to play chamber music. A glass or two of wine, and we  pull out some Mendelssohn. This recording documents

the way the music would sound (at least in my imagination). Tempos are very relaxed, the string sound is warm and gorgeous, play ers yield to each other in cooperative, musical fashion, and the world seems a better place. In

short  this is a great recording  if you value warmth and sweetness in Mendelssohn. I greatly enjoyed the Mandelring (I/F 2016), but putting them side by side now,  I think my choice would be the Harrington, who allow the music to unfold without being pressed or "energized". Here, though, nothing is forced, and, as  I say, the world seems a better place. So, congratulations to the Harrington.


Althouse


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AM Leon, Apr. 2016

Amantes de la música clásica disfrutaron de la presentación del Amernet String Quartet, en el Auditorio Mateo Herrera.Los asistentes despidieron al cuarteto estadounidense con una ovación de pie y varios minutos de aplausos.

El concierto formó parte de la temporada de Música de Cámara Marzo-Junio 2016 que organiza el Forum Cultural Guanajuato. La programación continuará con la presentación de Rachel Barton y Matthew Hagle el 28 de mayo.


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South Florida Classical Review, Apr. 2016

The Florida International University Music Department celebrated the 80th birthday of its founding director Fredrick Kaufman Tuesday night with a concert spanning six decades of his creative work.  The Amernet String Quartet excelled in the important string writing, producing corporate power and tonal gleam. The String Quartet No. 6 (“The Urban”) was commissioned by the Amernet foursome in 2006.Lush melodies and a jazz-based pulse dominate this subtly crafted chamber work. The Amernet had a field day with this riveting musical portrait. They were unafraid to play the more animated episodes with gutsy, idiomatic down and dirty jazz strokes.


Lawrence Budmen


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Omaha.com, April 2016

Amernet String Quartet’s Omaha visit to teach, entertain, remember


A highly regarded string quartet that’s in residence at Florida International University is in Omaha this weekend for two concerts, educational programs and community outreach. The Amernet String Quartet will work with students from the Omaha Public Schools, the Omaha Conservatory of Music and the University of Nebraska at Omaha beginning Friday, said Stacie Hineline, who has been coordinating the group’s visit. Hineline is the executive director of the Omaha Chamber Music Society and a member of the piano faculty at UNO.


Betsie Freeman


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The Reader, April 2016

Music from Jewish souls. 


The concert is called “Heritage.” In it, The Amernet String Quartet focuses on Jewish heritage in music of the last century, especially calling attention to two composers murdered in concentration camps.


Gordon Spencer


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Palm Beach Daily News, Febr. 2016

Pianist Joseph Kalichstein electrifies Amernet Quartet performance


How satisfying — an afternoon spent listening to great artists perform truly great music. Listeners packed the hall of The Society of the Four Arts on Sunday to hear the Amernet String Quartet perform Joseph Haydn and Antonin Dvořák, and then, joined by pianist Joseph Kalichstein, an electrifying Brahms Piano Quintet in F Minor. The Amernet Quartet... can be heard in many local performances this season because they are based as an ensemble-in-residence at Florida International University. But their career is international. They have performed in the Americas, Europe and Asia, and they have collaborated with many of the world’s most distinguished artists. The Amernet performance was exciting and energetic, virtuosic when needed, but deeply sensitive in the second movement variations. The Amernet clearly loves this music and performed it with depth and conviction. After intermission, the quartet was joined by Kalichstein. The balance of the five was perfect, as if they had been performing together for years. They left the audience breathless, but not so much so that they didn’t rise to their feet for an enthusiastic ovation.


Ken Keaton


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The Post Journal, Febr. 2016

The performance is tautly disciplined. The focus of the music is always spot-on. The tone quality of each instrument is solid. It is a rare combination to hear a performance this controlled which doesn't sound in any way robotic, but which is emotionally moving. Listening to the recording is joyous. 


Robert W. Plyler


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Pizzicato Journal, Luxembourg, Febr. 2016

Mendelssohn, how it's supposed to sound! Musically this is an impressive achievement. The playing is both idiomatic and technically impeccable, never rushed and therefore unforcedly charming in the first quintet, while the second gets a good measure of expression."


Mendelssohn, wie er klingen soll!...Auf dieser CD sorgfältig erarbeiteten Interpretation zu hören...wachen Dialog der Musiker und den warmen Klang überzeugt, der unverkennbar ‘Mendelssohn’ ist.... Eindruck eines Ensembles, das nicht auf Effekte setzt, um Wirkung zu erzeugen, sondern die Musik von innen heraus erstrahlen lässt, gefühlvoll... mit einer romantisch verbrämten mozartschen Eleganz.


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Phil's Classical Reviews, Jan. 2016

...thrill audiences with the exuberance of their playing....The results are simpy wonderful... There is lightness and economy of purpose in the first violin’s melody, grounded by quarter-notes in the lower strings... The first violin takes charge of the adventuresome theme in the opening movement, its forte dynamics supported by ominous tremolos in the lower strings. The brief scherzo is made more attractive by superb fluidity and pace, enhanced by elegant pizzicati. Mendelssohn has been criticized, perhaps unfairly, for his conservative musical style. He saw no need to jettison the conventions we now term “classical” and attract attention to his music by indulging in “revolutionary” novelty à la Berlioz, and Wagner. Was he right in doing so? Certainly, he was a composer whose grasp was exactly equal to his reach, and the result can be very satisfying, especially in his memorable pictorial and expressive effects. Today, uninspired performances can make his music seem stodgy. Great ones, like the Harrington Quartet and Dunham give us in these recordings, bring out the lithesomeness, vitality, and unexpected depths of emotion that make his best music ever more revelant in today’s nervous world. 


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The Strad, Nov. 2015

Review of the concert at Merkin Hall, Kaufman Center, NY, September 24th, 2015


The Amernet Quartet plays with conviction and commitment... The Amernet played works with diplomacy and character...The world premiere of Freeman...was brought to life wonderfully... The evening concluded with ...Daniel Ott...and the Amernet captured wonderfully the sprightly character...retaining the darkness of the subject matter.


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Washington Post, Nov. 2015

Evocative concert of Jewish classical music by Amernet String Quartet


For nearly a decade, Pro Musica Hebraica has championed Jewish classical music by presenting concerts filled with forgotten gems. On Monday evening at the Kennedy Center Terrace Theater, its first foray into Sephardic musical traditions proved timely and celebratory, with the Amernet String Quartet and two guest artists transporting listeners to medieval Spain.Inspired by Hemsi’s efforts, composer Ljova — commissioned by Pro Musica Hebraica — arranged “Blanca Nina,” a suite of traditional songs and ballads. For this world premiere, mezzo-soprano Rachel Calloway sang with haunting presence while the Amernet played an equal partner...


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​New York Classical Review, Sept. 2015

Ensemble in residence at Florida International University in Miami, the Amernet brought their warm, grainy ensemble sound to Merkin Hall, along with a handful of new and recent string quartets written by American composers.


The Amernet has recently changed their second violinist, replacing Marcia Littley with Tomas Cotik, and as a group they sound fuller and more cohesive than before. They also play with a noticeably greater amount of energy....this was a fundamental key to the success of the concert, because when the music was at its best, it demanded great energy, and when the music wasn’t as strong, the quartet had the concentration and musical passion to keep the line moving forward.


George Grella

GBOPERA magazine, July 2015

Può essere difficile reggere un programma virtuosistico nella completa solitudine di uno strumento, specie se non si tratta del pianoforte, ma del violino, neppure accompagnato dal basso continuo. Ma per Tomas Cotik il rischio doveva far parte del programma di questo cd, che suona come una sfida sin dal titolo: Solo....Cotik è abilissimo ad affascinare l’ascoltatore non con la melodia né con la costruzione virtuosistica (che non rientravano certo negli intenti del compositore), bensì con la purezza del suono. ... il Bach della sonata che segue sceglie la dolcezza soffusa e il portamento; la differenza è macroscopica quando dal finale della terza fantasia del primo attacca l’Adagio della sonata del secondo. Non basta dire che sia un’ovvietà, poiché l’impronta bachiana ha contorni così profondi e inconfondibili da differenziarsi subito rispetto al resto; è infatti lo stesso Cotik che, da autentico virtuoso, rimarca le differenze nella natura del suono... Tutto è comunque molto godibile, calibrato, davvero “musicale” come una voce che non ci si stanca di ascoltare. Dalla nettezza geometrica di Telemann alle sinuosità geroglifiche di Piazzolla la distanza è davvero immensa, ma con la naturalezza dell’esecutore è come se il percorso si fosse compiuto da solo …   


Michele Curnis


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Knight Arts, June 2015

Cautious, calm, modest, devoid of posturing and pretensions, Tomás Cotik is a violinist, one of the people who make Miami a good place to live. Born in 1977 in Buenos Aires, Argentina, he came to Miami thanks to the New World Symphony and, like so many others, decided to stay. Here he met photographer So-Min Kang, born in Hamburg of Korean parents. They married and had a daughter, Yuni. The Cotiks are part of the human landscape that make Miami a multicultural magnet, more diverse each day, from which talented residents make themselves known to the world...Tomás Cotik


How did your vocation come about?

When I was 5, I listened to a vinyl record of classical music at home. The sound of the strings moved me so much that I begged my parents to let me learn to play the violin. I had to start with the recorder, which was a fad at the time, and I didn’t like it at all. It took me three years to change their minds.


Sebastian Spreng


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Classical Net, June 2015

...Cotik/Lin performances are clear, crisp and vigorous, and undoubtedly informed by Cotik's doctoral dissertation on Schubert. Tempos are generally brisk,...Cadences are emphatic...Most of their interpretations leave little to be desired.... this is a very impressive disc.


James Tobin


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Classical Net, June 2015

Cotik and Lin phrase this music with such feeling, making you wonder if it could possibly sound better in any other performance. There have been many great artists who have delved into some of this repertory, from Kreisler and Rachmaninov to the brilliant young Julia Fischer and Martin Helmchen. Overall, these two discs featuring Cotik and Lin must be regarded as among the finest performances for their consistent artistry and idiomatic grasp on Schubert's quirky and wide-ranging style. Highly recommended!


Robert Cummings


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Palm Beach Arts Paper, June 2015

The Quartet No. 7, which Danielpour has subtitled Psalms of Solace, gets its world premiere Sunday when the Delray String Quartet debuts it at the Mainly Mozart Festival in Coral Gables. The Cuban-born soprano Maria Aleida will be the soloist in the fourth and final movement. Although this will be the premiere, the Delray recorded the work last week at Miami’s Hit Factory with Grammy-winning producer Judith Sherman for a disc on Naxos of Danielpour’s Fifth, Sixth and Seventh quartets; the soloist on the recording is the Israeli soprano Hila Plitmann.


The composer has said in the past that he wanted the Seventh to be his last string quartet... and his entire quartet output, has a special meaning for him.


Greg Stepanich


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Miami Clasica, June 2015

Sunday solace from the summer heat


The world premiere of Richard Danielpour’s String Quartet No. 7 (Psalms of Solace), performed by the Delray String Quartet and soprano Maria Aleida, was the evening’s pièce de resistance. One of the most prolific of American composers in all musical genres, Danielpour is specially known for his chamber pieces, which grant preeminence to the human voice as an expressive vehicle... The work enables the various string instruments to show off in succession and ends with the inclusion of voice as the fifth string. Maria Aleida’s voice came through clear and sparkling, differentiating itself from the framework created by the violins, viola and cello. It should be noted that the Delray ensemble is currently recording the a series of Danielpour quartets.


Sebastian Spreng


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Palm Beach Arts Paper, June 2015

Delray SQ, Aleida deliver impressive Danielpour at Mainly Mozart


For two centuries or more, the string quartet has been the favored medium for a composer’s most intimate, profound thoughts. In his series of quartets, the American composer Richard Danielpour has explored themes of the Holocaust (No. 3, Psalms of Sorrow) and farewell (No. 6, Addio), and for his Quartet No. 7, which received its world premiere May 31 in Coral Gables at the Mainly Mozart Festival, he has turned to a more hopeful message of human potential.The Delray quartet, which had the recorded the piece the week before with producer Judith Sherman, played with precision and care, keeping the half-light of the music steady.  incantatory lines, in a cannily scored accompaniment that has texture but still lets the singer have the spotlight. Danielpour’s Seventh Quartet is a well-constructed, deeply felt piece that would make a good addition for a string quartet ensemble looking for some programming variety and some easy-to-grasp contemporary composition. It seems to me that the fourth movement is actually too short to make the best impact it could, even given whole slow movement before it. It has a Mahlerian pace from the beginning of the Adagietto, and it’s a pace that calls for serious breadth.


 Greg Stepanich


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Miami Clasica, June 2015

Cauto, tranquilo, modesto, sin poses ni pretensiones, Tomás Cotik es músico, violinista para mas datos y uno de los personajes que hacen de Miami un buen lugar para vivir, uno tanto mas verdadero que el publicitado en los medios. Nacido en Buenos Aires en 1977, cayó en Miami por obra y gracia de la New World Symphony, y como tantos otros, decidió quedarse. Aquí conoció a la fotógrafa So-Min Kang, nacida en Hamburgo de padres coreanos, se casaron y tuvieron una hija, Yuni. Los Cotik forman parte del paisaje humano que hace de Miami un polo multicultural cada día mas diverso y desde donde se proyectan hacia el mundo.


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Revista Musical Catalana, May 2015

Les Sonates per a violí i piano de Franz Schubert no són les seves peces més conegudes, ni tan sols de la producció cambrística. N’acostumen a ser més interpretats i apreciats els quartets de corda, entre els quals La mort i la donzella (o el que tanca la sèrie, d’intuïcions no menys poderoses ni sinistres), el seu expansiu quintet amb pianoLa Truita o els dos trios amb piano. I sense oblidar, per descomptat, el Quintet per a corda, una de les peces de referència, única en el patrimoni musical. Davant el relatiu oblit de les seves composicions per a violí i piano, inevitablement a l’ombra de les de Beethoven i fins i tot de les de Mozart, suposa una grata sorpresa descobrir aquest enregistrament, el segon, que completa la sèrie de sonates interpretades per Tomas Cotik (violí) i Tao Lin (piano). Els mitjans nord-americans van celebrar profusament l’edició anterior, i en aquesta es repeteix la frescor i intensitat de les interpretacions. La qualitat de les lectures de les tres peces és notable, si bé destaca per la seva factura –més extensa, intricada i lírica– la Sonata en La menor, op. post. 137/2, D. 385. 


Jacobo Zabalo


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Revista Musical Catalana, May 2015

... un violinista que coneix i treballa a bastament la música que passa per les seves mans abans d’interpretar-la. A l’hora d’afrontar les Fantasies de Telemann i la Tercera Sonata de Bach utilitza un arquet barroc sobre violí modern per apropar-se d’aquesta manera als timbres de l’època, amb un aprofundiment i una bellesa lírica portadors de gran refinament. Si en aquesta música se’ns mostra un intèrpret que cerca la profunditat, en els Ländler de Schubert expressa tot el que significa espontaneïtat. Així, si anys enrere va fer l’enregistrament de la integral de l’obra per a violí i piano de Schubert, ara afronta quatre Ländler que ell mateix va descobrir i que interpreta amb gràcia i subtilesa, tot exposant el ritme ternari d’aquestes danses tradicionals austríaques. Com a cloenda de l’enregistrament, arribem als Tango-Étude de Piazzolla; originàriament escrits per a flauta, Cotik hi ofereix una barreja de lirisme seductor i un virtuosisme sempre controlat. Un violinista amb una sòlida formació acadèmica emergeix en les seves interpretacions personals.  


Lluís Trullén


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Knight Arts, May 2015

Violinist completes Schubert journey, launches new one for Mozart


Last week, Centaur Records released the second of two recordings containing the complete works for violin and piano of Franz Schubert, as played by violinist Tomas Cotik and pianist Tao Lin. Both are veteran performers on the South Florida scene, and Cotik, an Argentinian who holds a doctorate from the University of Miami, is a member of the Florida Grand Opera orchestra and the Delray String Quartet. He’s been studying Schubert’s music for years — his doctoral dissertation was about these works — and finds himself now at the end of that particular journey. In a discussion we had a couple weeks ago at the Buenos Aires Bakery and Café in North Miami Beach, Cotik told me working on this project had been a privilege and a pleasure.


Gregory Stepanich


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KICKSTARTER PROJECT

 

Classical Net, May 2015

In this program Cotik performs music by composers who were born as early as 1681 and who died as recently as 1992.  In all of these works, Cotik performs brilliantly.  In fact, his tone and articulation, especially  notable in the Telemann,  is astonishing.  His playing there, and in the Bach, is facilitated by his use of a baroque bow, as he himself says in his notes accompanying this disc...


 What I have just quoted provides an explanation of the timing of the fugue in the Bach Sonata, which Cotik performs in eight minutes and 41 seconds, remarkably faster than several other recorded performances ...,but this difference was so striking I simply had to.  In spite of his fleetness, Cotik’s performance is always clean, fast but not rushed.


 The  Ländler, in ¾ time, an Austrian and south German predecessor of the walt,... Cotik’s phrasing and sonority are clear and generally excellent, even when there are double stops. It may be mentioned here that Cotik wrote his doctoral dissertation on music by Schubert.


 The recording quality greatly adds to the appeal of this CD. The sound is resonant without being reverberant, the level is optimal and miking is at the right distance to obviate both harshness and thinness of tone.


 Very highly recommended.


James Tobin


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Audio-Video Club of Atlanta, May 2015

Tomas Cotik, native Argentinian whose international career is on the rise in the U.S., Canada and Germany, brings a beautfully expressive sound to a delightful program of three sonatas by Franz Schubert...,making the present CD one you will want to listen to often. Tomas Cotik, who did his his doctoral research on interpretation of Schubert's sonatas, applies his costumary warmth to the task in these recordings...


Phil Muse


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American Record Guide, May 2015

Argentinean violinist Tomas Cotik gives us here a recital for solo violin. His strong suit is how he plays the fast movements of the Telemann Fantasias. II in the first Fantasia is a wild joy ride that is unforgettable. Everyone who plays these works should hear these exemplary performances. I can’t help imagining Telemann himself smiling with delight. His Bach is very good, with clear-voice leading in the implied counterpoint, and his reading holds up against some extremely stiff competition. He brings the same refreshingly high energy to the fugue and finale as he does to the Telemann fast movements, and the slow movements are deeply felt. I enjoy the Piazzolla Tango Etudes more as played by Cotik than by anyone else. This is an excellent recital, and you will never hear these Telemann Fantasias played so well.


Magil

 

American Record Guide, May 2015

Tomas Cotik is an Argentinean violinist who has studied in the United States, Germany, and Canada. He has partnered with Chinese-American Tao Lin to record all of Schubert’s works for violin and piano, and this second installment has the early sonatas that Schubert wrote in 1816 when he was 19.


Both musicians are technically very good, and their interpretations are always tasteful and intelligent


Magil

 

Sonograma Magazine, April 2015

Estas  tres sonatas para violín, de inspiración mozartiana, son un claro ejemplo de diálogo equilibrado y sutil que mantienen el violín y el piano; Schubert dominaba a la par los dos instrumentos.

Tomas Cotik escribe en las notas que acompañan al disco su apasionada investigación sobre el contexto instrumental e interpretativo de las sonatas. El resultado es una fantástica grabación realizada en el Maurice Gusman Concert Hall de la Universidad de Miami.

Tomas Cotik y Tao Lin construyen un relato musical de un fuerte carácter melódico, en el que van destilando las influencias románticas y van dejando constancia de sus particulares referencias a la sencillez y a la naturalidad de la música de Schubert, convirtiéndola en un todo que fluye y se transforma. Muy posiblemente, el enorme potencial de Cotik nos llega a través de los sentimientos que el artista evoca en una música que está llena de energía .


Marçal Borotau


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GBOPERA magazine, April 2015

... in realtà la parte del violino è, a lavoro concluso, tutt’altro che semplice o secondaria, cioè tutt’altro che relegata a mero “accompagnamento”. Anche per questo motivo un giovane e talentosissimo virtuoso come Cotik ha deciso di riportare le Sonate al centro di un progetto esecutivo, di reale riscoperta delle originarie sonorità e delle effettive difficoltà espressive dei testi...Del resto, nelle note del booklet, è lo stesso Cotik – che alla musica da camera di Schubert ha dedicato anche la propria tesi dottorale ....Tre pagine minori della Vienna degli anni del celebre Congresso, rese con uno studio e un’attenzione solitamente riservati ai più frequentati capolavori pianistici di Schubert: un disco la cui qualità riesce a proporre la freschezza affascinante della cultura musicale germanica come nuova, come se le tre piccole Sonate non si fossero mai ascoltate prima.


Michele Curnis


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Palm Beach Arts Paper Weekend picks

The Argentine-born violinist Tomás Cotik has had a busy career in South Florida since earning his doctorate at the University of Miami.... Among his fields of study is the music of Franz Schubert, and he and pianist Tao Lin have just released a second disc of the composer’s music for violin and piano, making for a complete survey. Tonight and Saturday, the two will perform all these works on two concerts at All Saints Episcopal Church in Fort Lauderdale as a celebration of the recordings’ release. 


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Docenotas, April 2015

Éste es el esperado segundo volumen que completa la grabación integral de las obras para violín y piano del compositor austríaco que... le valió al dúo una nominación a “Grabación del año” por Albert Lam, de la publicación británica MusicWeb International, y excelentes críticas....interpretación perfecta y equilibrada de los músicos... la calidad de esta grabación...reside... en su propia interpretación...Como en el primer volumen, el acercamiento que realiza Cotik, también productor en este disco, se basa en la investigación del contexto histórico de cada pieza con el objetivo de conocer la práctica habitual en la interpretación en el momento de su composición...El resultado es un disco cuidado y trabajado hasta el más mínimo detalle, que conserva la creatividad, la espontaneidad y la elegancia de la música de cámara y, por si fuera ya poco, recoge la sensibilidad romántica de Schubert.


Anahí Quirós


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Classical Net, March 2015

This is the second volume of Franz Schubert's complete works for violin and piano... Volume One, though it received exceptional critical press... Tomas Cotik is a fine young violinist with a catholic range of tastes. Born in Argentina, Dr. Cotik... present a fine program of three posthumously-published violin sonatas.


Tomas Cotik and Tao Lin play as if they were simply meeting for one of these informal house concerts, with a playful and affectionate partnership....the two artists clearly recognize what was going on during that time period...there are all kinds of sly winks to various music of the day, and Cotik and Lin effortlessly highlight these without ever becoming silly or mannered. Fans of Romantic chamber music will doubtless be intrigued by this carefully considered and beautifully recorded disc.


Brian Wigman


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Docenotas, March 2015

Tomas Cotik, por fin Solo


El violinista argentino regresa a la actualidad discográfica con su primer trabajo en solitario en el que acerca al público su forma de entender la música, a través de una interpretación inusual y brillante y un repertorio muy cuidado que incluye obras poco conocidas....Lo único que faltaba en su currículum era Solo, su proyecto en solitario editado por el sello discográfico Centaur. Desde los primeros minutos se puede apreciar el toque sofisticado de Cotik y su inmensa capacidad para moverse entre estilos.....matices sutiles y un sonido ligero y fluido...una interpretación más natural... virtuosismo y delicadeza ....una ejecución magistral y una pasión desbordante...Sin duda Solo se trata de un disco redondo, con el sello personal de un violinista excelente que ha tardado en presentarse en solitario, y que recoge una forma rigurosa, natural y fuera de lo común de entender, acercarse e interpretar la música. La espera ha merecido la pena.


Anahí Quirós


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Observer Today, March 2015

Cotik has recently released another recording, made in 2013, of works for violin and piano. The pianist on the disc is Tao Lin....The disc is titled ''Franz Schubert,'' and it contains three sonatas by that composer: D. 384, D.385, and D. 408. The same rich and variable tone and solid technique are in evidence here...The balance between violin and piano is spot-on. The recording doesn't ask as much work from the listener. It amuses, as well as stimulates.


Robert W. Plyer


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Observer Today, March 2015

The solo violin is a beautiful sound...These solos are rich in rhythm and have good variation in tone.... The artist's technique is solid and sound.


If you love the solo violin, you won't find a better recording to suit your tastes. If you seek music encouraging to thought and self-examination, this disc will serve you well...


Robert W. Plyer


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Review of the recital at the Fletcher Opera Theater in Raleigh, NC

For its local debut, the violin and piano duo of Tomás Cotik and Tao Lin offered a program consisting of fairly traditional concert music in the first half, capped by dazzling fireworks in the second.


Elegance and grace were hallmarks of the first half...It dazzled here, with Cotik's rich and warm violin sound emanating from his 2000 Mark de Sterke instrument, and Lin's comparably spirited work at the Bösendorfer 280


The big work in the first half was Schubert's Fantasy in C, D.934, that master's largest composition for violin and piano and one that can (and often does) separate sheep from goats in the recital business. Listeners can have had no cause for complaints on this occasion, for this was heard in an elegant and refined rendition that at once shed new light on the score's many beauties and its varied emotional depth as well. For some of us, it's hard to imagine life without Schubert, the composer of pieces of heavenly length (a term often applied to the "Great" C Major Symphony); this was a good example of why that is so.


Part two was altogether lighter.....splendid playing..... yet more dazzle.


John W. Lambert


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Sonograma MAGAZINE, Febr. 2015

La aparición del disco “Solo” de Tomas Cotik, publicado por el sello discográfico Centaur, es una apuesta muy interesante porque muestra una nueva forma de mirar, entender y percibir la música de diferentes épocas. Resulta muy gratificante escuchar estas interpretaciones para violín solo, en las que Cotik comunica su enorme capacidad en interpretar fluidamente la música de Telemann, Schubert o Piazzolla. Une en su magnífico discurso de diferentes estilos, las  formas clásicas como la fantasía y la sonata del diecisiete y el tango, una danza de ritmo muy sincopado del siglo veinte: en todas estas obras aparece la pasión.


Cotik despliega sus habilidades técnicas en estos sutiles estados emocionales. Al final aparece el arrebato de los sentimientos y de las melodías.


Marçal Borotau


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Cotik & Lin Bring a Global Approach to Violin/Piano Duo Repertoire

CVNC - An online Arts Journal in North Carolina


Lawrence Bivins


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Fanfare Magazine, May, 2015

Violinist Tomás Cotik explains in the notes to Centaur's collection that he plays Georg Philipp Telemann's and Johann Sebastian Bach's works with a Baroque bow that offers him effortless transparency. He sounds exceptionally agile in the bariolages featured in the very brief Allegro and exceptionally expressive in the Grave before turning in the finale to a reprise of the second movement.


Bach's Solo Sonata in C Major, the third and most complex of the three sonatas in Bach's set allows Cotik to make his violin reverberate in the many double-stops incorporating open strings. But the movement's effect hardly depends on sonority alone, and Cotik transcend even the profoundly meditative quality he divined in Telemann's slow movements. At a tempo that sounds brisk (the movement takes 8:41--Jascha Heifetz took 8:40 in 1952 but 9:04 in 1935; Nathan Milstein, on the other hand, got slower, at 9:20 in 1954 and 9:45 in 1973),..he fashions from the fugue, as he did from the Adagio, a compelling musical narrative that, despite its tempo, hardly sounds lightweight or breezy--or technically awkward. The Largo leads to a reading of the finale that's so brisk....the speed in this case just adds to the exhilarating effect of a concerto-like movement for one instrument that throws off sparks as might a grind wheel....


            Franz Schubert's collections of Ländler, which Cotik claims to have encountered while engaging in dissertation research on the composer, contribute something new to the program. It may sound surprising to listeners that they stand so solidly on their own, but Cotik claims that Schubert may have intended them to be heard just this way rather than simply as sketches. (Dancers in the British Isles often employed only a single fiddler during this period--Charles Dickens refers to the practice in A Christmas Carol.) If they're to be played unaccompanied, however, the violinist must at least swaddle them in a blanket of idiomatic nuance, as Cotik does, making them sound both ingratiating and substantial. The solo violin sounds very different in the edgy accents of Astor Piazzolla's Tango Études, and Cotik delivers the music of this now obligatory composer (apparently now it's Bach, Beethoven, and Piazzolla) with cheeky verve, virtuosic aplomb, and idiomatic authenticity (Cotik grew up in Argentina).


Cotik's solo recital should go down without a spoonful of sugar; in fact, those reaching the end may need to be reminded that they've been listening for more than an hour to violin unaccompanied. That's a significant accomplishment in itself. Strongly recommended.


Robert Maxham

                                                                                     

Fanfare Magazine, May 2015

In Fanfare 36:3, I urgently recommended Tomás Cotik's and Tao Lin's reading of Franz Schubert's "Duo" in A Major, Rondo in B Minor, and Fantasy in C Major (Centaur 3250). This "second installment," as the booklet describes it, includes only the three sonatas originally published--and still sometimes published to this day--as "sonatinas," but originally designated "sonatas" by the composer. 


The Second Sonata's opening movement benefits as much as do the earlier sonata's outer ones from increased forward momentum: drama, though abundant, never trumps lyricism. The duo remains sensitive to opportunities for dialogue, even in passages that may not offer such obvious possibilities--in measures, for example, in which throbbing chords accompany slower-moving lines in the violin part. Because they're listening to each other, Cotik and Lin make listeners pay attention to them as well. They enhance their reading of the second movement with effective dynamic contrasts and great beauty of tone--Lin's as well as Cotik's (Cotik's preference for vibrato as an ornament in these works hardly prevents him from generating great insinuating warmth in the lower registers)....  Cotik and Lin find transforming musical interest--and rhetoric--even in its prima facie most repetitious passages.


Cotik never indulges in violinistic brilliance at the expense of music, but he sounds consistently brilliant nevertheless.


Listeners who prefer the beguiling beauty of Pinchas Zukerman's readings of these works in the grand manner with Marc Neikrug, released on Biddulph 80250, which I urgently recommended in Fanfare 34:5, may not find Cotik's different angle of observation equally revealing; but for those open to so thoughtful a violinist as Cotik, these readings should stand beside them on the shelf. Strongly recommended for its thoughtful and well-informed notes as well as for its thoughtful and well-informed performances.


Robert Maxham

 

Gary Burton, Jan. 2015

...when I heard about Mr. Cotik’s and Mr. Lin’s recording of Piazzolla works, which is on the Naxos label, I was immediately curious to see their approach to this music. I was immediately impressed by their virtuosity…, and also their understanding of Piazzolla’s music. I was anxious to see them perform in person.That opportunity came on January 10… I was not disappointed…. Not only did they play Piazzolla’s music with great ability and insight, their announcements describing the individual selections were very informative for the audience... I hope many future audiences will have the chance to experience their musical excellence.


Gary Burton

 

Pizzicato, Febr. 2015

ABWECHSLUNGSREICHES SOLO-PROGRAMM


Der argentinische Geiger Tomas Cotik hat bei Centaur ein bemerkenswertes Soloalbum herausgebracht. Ein Highlight der CD sind die selten zu hörenden Schubert-Ländler D.370, D.374, D.355 und D.640, deren genuinen, volkstümlichen Charme der Geiger wunderbar zum Ausdruck bringt. Auf der CD gibt es auch kunstvolle und expressive Interpretationen von Johann Sebastian Bachs C-Dur Sonate, von zwei Telemann-Fantasien und von sechs farbigen Tango-Etüden Astor Piazzollas. Ein gemischtes Programm also, auf hohem Niveau und den jeweiligen Stilen perfekt angepasst (CRC 3364).


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Contemporary Record Society, Jan. 2015

... Mr. Cotik very much takes this to heart in his playing, performing the contrapuntal movements with absolute concentration on the polyphony, and contrasting this with the sense of abandon he gives to the fantasia movements. I marvel at the technical skill which effortlessly encompasses these deeply contrasting styles....a technical as well as expressive master stroke.


Tomas’ interpretation of these naked works is wistful yet swinging, danceable yet thoughtful. He brings much of the ‘apotheosis of the dance’ quality to them that he brought to the Allegro Assai movement of the Bach...On to Piazzolla....  Cotik brings a technique to these pieces that is similar, yet distinctly different from those earlier essays. ...What is most touching about Cotik’s playing here is the occasional subtle stuttering of the bow—not a spiccato, sautille, or jete–at the end of a phrase, as if the emotion momentarily (and deliberately) overwhelms the technique....Good to see Cotik conclude his survey with these works, as they show how dance–and dance polyphony–have evolved through Telemann, Bach, Schubert, and Piazzolla. The homophony of dance, and the polyphony of the fugue and related contrapuntal forms have mixed well in the works of composers great and small, and works like the Piazzolla ensure that such composition will carry on into the future.


Gregory Hall


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Pizzicato Journal, Luxembourg, Jan. 2015

4 STARS


Tomas Cotik and Tao Lin form a perfectly balanced duo, and their Schubert performances flow naturally, with subtle nuances and much of a very appropriated elegance. A true Schubertiade!


Der argentinische Geiger Tomas Cotil und der amerikanisch-chinesische Pianist Tao Lin haben es sich nicht leicht gemacht mit ihren Schubert-Interpretationen. Wie akribisch sie die Quellen analysiert haben und daraus ein Konzept erarbeiteten, erklärt Cotik sehr genau im Textheft dieser CD.


Der Violinist, der mit einer Dissertation über Schubert promovierte, stellt sich in den Aufnahmen nicht in den Vordergrund, sondern er sieht den Pianisten als gleichberechtigten Partner an. Das ergibt ein gemeinsames Atmen, ein gemeinsames Reden, wie man es in solcher Transparenz selten so perfekt zu hören bekommt. Sicher ging es den beiden nicht darum, virtuos zu glänzen, sondern sie spielen in der Intimität eines Kammerkonzerts und somit reiner richtigen Schubertiade. Nichts wird forciert, die Phrasierung ist feingesteuert, die Musik erklingt nuancenreich, mit Wärme und Eleganz.


Remy Franck


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Miami ART Zine, Jan. 2015

Concert Review - Duo Plays Lively Concert of Tango Music


 Cotik and Lin closely following each other, Cotik’s violin full of confident swagger. He handled the upward glissandi, gliding on a string from one pitch to another, with aplomb.  The uptempos present gritty rhythms and harsh pointed melodies, while the slower songs emphasize melancholy and despair, usually through a lyrical solo voice. Lin’s haunting piano in “Milonga del Angel” supported Cotik, who coaxed the melancholy out of his instrument with nuanced passion. In a surprise move, Cotik and Lin gave voice to another composer who also stitched dissimilar musics together – this time blues, jazz and classical. They performed George Gershwin's Three Preludes(transcribed by Jascha Heifetz), handling the bluesy motif, syncopations and signature rhythms with obvious affection, passing a delightful melody back and forth with Gershwin-like playfulness.

Cotik and Lin seamlessly turned all the corners of the piece and navigated the tempos like seasoned sailors. The joy continued with “Vardarito,” a happy little show tune type and “Escualo,” a delicious little tango, where the violin was racing stop and go against the piano, giving the animated duo a chance to romp. And romp they did. Cotik and Lin received a generous standing-o at the conclusion of the compact, dramatic and unrelenting “Libertango.” Lin was on point with the opening gallop, Cotik picked up the provocative melody, and both understood each other well, as they did all evening, traversing the explosive driving rhythm of this popular concert tango.


Steve Gladstone


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Infodad.com, JAN. 2015

WHEN THE VIOLIN SOARS  - 4 STARTS - ++++


None of these pieces has ever sounded quite like this before.Cotik handles it beautifully, with tremendous clarity of line and evenness of tone. His playing is equally fine in the other three movements: the opening movement’s surprising dissonances make perfect sense here, the third movement’s pastoral simplicity shines forth after the fugue’s tremendous complexity, and the virtuoso finale whirls to a wonderful conclusion.  are straightforward and pleasant - trifles, yes, but delicious ones. Cotik respects the music  shows, as Piazzolla intended to show, that the tango is just as valid a canvas for technical study and attractive music-making as are other dances.... multiple fascinations brought forth by Cotik’s interpretations and technical skill.


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Infodad.com, JAN. 2015

WHEN THE VIOLIN SOARS  - 4 STARTS - ++++


Insightful and captivating, the performances of three Schubert sonatas by Tomas Cotik and Tao Lin. True, some performances make the violin works seem rather superficial, their performance difficulties relatively arbitrary, their undoubted tunefulness less at the service of pervasive lyricism than in other Schubert pieces. What Cotik and Lin do so well on a new Centaur CD is to show that these impressions are in fact performance-related rather than inherent in the music. These three posthumously published sonatas – for whose recording Cotik is producer as well as performer – sing beautifully here...what Cotik and Lin show is that even these comparatively straightforward, unproblematic pieces sound wonderful in the right hands and with the right sensitivity to period performance style – which is here in abundance...rather than turn their performances into mannered or straitlaced readings, those studies seem to have inspired both violinist and pianist to genuinely involving encounters with this unfairly neglected music. The result is exhilarating music-making, with all the accoutrements of encountering previously unknown works and the rather startling realization that these sonatas are not at all unknown – they are just not known to be as good, as effective and as musically and emotionally satisfying as they are here.


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Miami Herald: An Argentine classic: Astor Piazzolla and the evolution of tango

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Danielpour quartet makes strong impression at Delray SQ

On Sunday afternoon, the Delray String Quartet offered a fine contemporary example of serious string-quartet writing with a performance of the String Quartet No. 6 (Addio) by the American composer Richard Danielpour. It is one of three string quartets by the composer that the Delray will record in May, including his Seventh, which the quartet commissioned from him.


The Delray played this work with clear commitment and passion. Everything sounded well-rehearsed, and the foursome were particularly good in the hymn sections, when they displayed a kind of ensemble unity that allowed the music’s full expressive weight to come through.


The Delray’s relationship with Richard Danielpour builds on its earlier collaboration with another South Florida-rooted contemporary composer, Kenneth Fuchs, whose Fifth Quartet was written for this ensemble. In doing these works, the Delray is making its own significant contribution to the cause of new American classical music, and to the profile of the arts in South Florida, for which residents here owe them our thanks.


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Greg Stepanich

 

Slipped Disc, Dec. 2014

A neglected stash of unrecorded Schubert


The Argentine violinist Tomas Cotik makes a claim on his new recording that much of Schubert’s dance music exists only in autograph at the city library of Vienna, unpublished and unrecorded.


Norman Lebrecht


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Palm Beach Arts Paper, Nov. 2014

Delray SQ vividly brings Herrmann, Ravel to opener


The Delray...is very much in its element, with sharply edged emotional contours and a lush armory of melody and harmony. The group played it very well, clearly enjoying it and reveling in its brilliant coloring.


The beautiful first movement was by turns tender and mysterious, then explosive at the climax, and well-navigated by each of the players. The slow third movement, on the other hand, was excellently done... the quartet walked the highly perfumed world of Ravel’s exotic garden with surpassing sensitivity and lovely solo playing in particular from Cotik and Fleischman. The quartet brought huge and unified energy to the finale, with its odd time signature handled with expert ensemble, and the contrasting music in the middle, which recalls the atmosphere of the neoclassical opening of the work, played with a feeling of distant, pale memory that contrasted nicely with the rest of the movement.


Greg Stepanich

 

INFODAD, NOV. 2014

Review of DSQ CD


The warm string tone and elegant piano elements of this performance are winning,"..."the Delray String Quartet allows the music to expand and breath


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OPERA WORLD MAGAZINE, Nov. 2014

Review of Piazzolla: Tango Nuevo CD


Juntos, Cotik y Lin consiguen imprimir a la música la pasión y eficacia expresivas propias de su juventud...También debemos destacar los sencillos pero efectivos arreglos para el violín realizados por el propio Cotik...El trabajo desprende calidad, gracias en gran medida al entusiasmo del violinista argentino, cuya generosidad da lugar a un sorprendente equilibrio en todas las páginas. Es fácil, por tanto, bucear en esta música, servida muy en crudo, y despojada de efectismos.


En Tango Nuevo encontramos algunos de los mejores momentos de Piazzolla, que se ve justamente homenajeado; una música cuyo mensaje se pierde extasiado en cada nota, para encontrarse de nuevo en la siguiente; que se muere en cada compás, pero que suena vital y joven, de tan contradictoria.


Carlos Javier López


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Palm Beach Arts Paper, Nov. 2014

New season is start of something big for Delray String Quartet


It’s been 11 years since the Delray String Quartet was formed and made its first appearance, but only four since its current lineup took shape. And this one feels like a keeper. And not a moment too soon, because this is going to be a big season, and an even bigger year to come, for the Delray foursome. In addition to its New York debut in April at the celebrated Bargemusic Festival, the group has expanded its exploration of contemporary American music by establishing a relationship with composer Richard Danielpour, who grew up in West Palm Beach.


Danielpour has just completed his Seventh Quartet on commission from the Delrays, and it will include a soprano singing texts from the Book of Psalms, in Hebrew. The fine Israeli soprano Hila Plitmann will be the soloist this coming May in Miami for the world premiere, and the quartet will follow that with three days of recording the Fifth, Sixth and Seventh quartets for Naxos.


Second violinist Tomás Cotik, a native of Argentina who has a solo career of his own that includes discs of music by Schubert (on Centaur) and Piazzolla (on Naxos) with pianist Tao Lin, is the most recent permanent member. 


Greg Stepanich


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BBC MAGAZINE, March 2014

OUR CHOICES

The BBC Music team’s current favourites


I’m enjoying exploring the music of Piazzolla, the legendary tango composer, on a disc by Argentinian violinist Tomas Cotik and pianist Tao Lin. It’s fascinating to read Cotik’s insightful liner notes about the well-travelled composer, and then to hear how he interprets the passionate music of his great countryman. 


Niel McKim, Production Editor

 

Revista Ritmo, Nov. 2014

Review of Piazzolla: Tango Nuevo CD


Está claro que el tango era el de Carlos Gardel. Pero surgió un músico imaginativo y con un talento especial para decir cosas bonitas en muy poco espacio de tiempo. Se llamaba Astor Piazzola y sin él hoy sería difícilmente comprensible el espíritu tanguero. Con su técnica clásica y so intuición popular, Piazzola fue uno de los primeros exponentes de la música fusión. Su receta era sencilla pero difícil de imitar: las dosis adecuadas de nostalgia, melancolía y encanto, con el recurso al recuerdo de lo ya oído y la elegancia como norma. El éxito de Piazzola ha provocado tantas adaptaciones que resulta ya difícil identificar el original. Tango nuevo se suma a esa tendencia desde la óptica del virtuosismo violinístico. El argentino Tomás Cotik (un violinista clásico que añora sus orígenes bonaerenses) ha realizado un trabajo de mucha calidad, por la originalidad de los arreglos y especialmente porque se trata de un excelente instrumentista. Tiene especial interés escuchar el arreglo de Gubaidulina de Le Grand Tango que Piazzola escribió para Rostropovich. Quizá sobre en el disco algún que otro taconazo efectista pero el resultado es ideal tanto para los fans de Piazzola como para los coleccionistas de discos de miniaturas violinísticas. 


Clara Berea

 

Classical Net, Oct. 2014

Review of Piazzolla: Tango Nuevo CD


This recording, and Cotik's long commentary on it, can be particularly recommended, not only for the considerable listening pleasure it offers, but also for the varied and satisfying feast of the different stylistic forms it displays.


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The Palm Beach Post, Oct. 2014

The string quartet continues to blossom; attracts national attention.

It has been a decade since Don Thompson put together his dream team of string musicians. Since then, the Delray String Quartet has become a nationally recognized group, recording on some of classical music’s most illustrious labels. he new album, highlighted by a piece by Russian composer Alexander Glazunov, is the result of diligent work with Grammy-winning producer Judith Sherman at Miami’s famed Hit Factory of Florida recording studio.


Carlos Frias


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Revista Scherzo, Oct. 3014

Review of Piazzolla: Tango Nuevo CD


La obra de Astor Piazzolla (1921-1992) nació en un medio inmigratorio y cosmopolita, y se ha encaminado, por vía del tango, a la gran ciudadanía del mundo. Una prueba es el presente compacto, donde un violinista argentino, activo en Estados Unidos, se une a un pianista chino, vecino de la Florida norteamericana. En Oblivion colabora un segundo violín, Glen Basham. La selección es buena muestra del mundo piazzolliano, donde el tango moderno de los años cuarenta se sintetiza con los polirritmos y las superposiciones armónicas de Bartók y Stravinski. La amplitud de géneros relacionados también se advierte en el menú: música de escena (La muerte del ángel), ópera (María de Buenos Aires), fondo sonoro para un film de Marco Bellocchio (la milonga Oblivion), suite (Historia del tango), una colaboración con el jazzista Gerry Mulligan (Libertango) y, guinda del postre, una curiosa página que lleva muy alto la parábola tanguera: Le Grand Tango, escrito en 1982 para Rostropovich, quien la olvidó en un cajón, ignorando quién era su autor, hasta exhumarla con admiración y estrenarla en 1990. Aquí se ofrece transcrita nada menos que por Sofía Gubaidulina. Las versiones son óptimas por la compenetración estilística del dúo y la prestancia instrumental del violinista, admirablemente diestro de sonoridad y arco.


Blas Matamoro

 

docenotas, sept. 2014

Review of Piazzolla: Tango Nuevo CD


Sobre los intérpretes cabe decir que a pesar de su juventud son auténticos maestros conocedores del repertorio del bonaerense. El argentino Tomas Cotik, fuerte intérprete al violin, se ha formado en Argentina, Alemania, Canadá y USA, Así mismo es un gran intérprete de la obra de Shubert y Piazzolla es objeto de sus investigaciones y doctorado musical.

El recital grabado se dio en Gusman Concert Hall de Florida en mayo de 2012 y por suerte recoge fielmente la fuerza y maestría de las composiciones de Piazzola. Un disco revelador de la maestría de los jóvenes intérpretes que lo firman: Tomas Cotik y Tao Lin.


Miguel Ángel Pérez Martín


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On the radio

New Classical Tracks with Julie Amacher from American Public Media


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​Fanfare Magazine, Sept/Oct 2014

Review of Piazzolla: Tango Nuevo CD


...edgy, sexy, and raw...Some of the music is sultry while other works are fast, rhythmic, and ornamented to show the exquisite virtuosity of Cotik and Lin. Many other artists have recorded Piazzolla’s works, but not with violin and piano. The sound on this disc is clear and the performances precise. I think that lovers of tango music will definitely want this fascinating disc. 


Maria Nockin


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​DownBeat Magazine, Sept. 2014

Review of Piazzolla: Tango Nuevo CD


an exceptional point of view on Piazzolla's broad range of work...as rigorous and detailed as Piazzolla's work is likely to get, but also with free expression. The romance, longing and violence are all here. Piazzolla can be played differently than this, but provably not better.


Jon Garelick


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SONOGRAMA MAGAZINE, JUL. 2014

Review of Piazzolla, Tango Nuevo CD


Su interpretación es totalmente limpia y alterna con seguridad los pasajes líricos, sosteniendo la brillantez y el ardor interpretativo de Cotik, con auténticos pasajes con ritmos vigorosos.Con este tipo de poetización y fervorosa pasión que el violinista otorga a la música de Piazzolla en este disco, que no abomina del humor cáustico del tango ni tampoco de la expresión apasionada de la plenitud vital, Cotik nos conecta con la sensibilidad romántica del pueblo argentino.


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CONTEMPORARY RECORD SOCIETY, Jun. 2014

Review of Piazzolla: Tango Nuevo CD


wonderful...entirely idiomatic....The playing here is in so many ways exemplary....Cotik and Lin show their abundant knowledge of the music of that time in their playing.....A very sensual violin, full of slippery glissandi played to full effect by Mr. Cotik.. ample opportunities for virtuosic expression, which Cotik and the pianist Tao Lin continually exploit.


Gregory Hall


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Venue Magazine, Jun. 2014

Review of Piazzolla: Tango Nuevo CD


Hace muy poco descubrí esta maravilla, Tango Nuevo, un fascinante trabajo de Tomas Cotik y Tao Lin, dos extraordinarios instrumentalistas que uniendo su talento logran transportarnos a una mezcla de comidas entre el New Age, lo clásico y lo popular del tango. Cuidados arreglos y un muy ameno repertorio hacen de este trabajo algo genial. Altamente recomendable, además, escuchar a Piazzolla siempre reconforta el espíritu.


Luis Andarcia


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GBOPERA magazine, Febr. 2014

Review of Piazzolla, Tango Nuevo CD


...il prodotto discografico del duo violino e pianoforte di Tomas Cotik e Tao Lin segue alla perfezione le regoli... presentare un prodotto che sia accattivante e di grande qualità.  Notevole è l’affiatamento del duo: Cotik vanta un violinismo costantemente brillante e un colore di suono caldo e avvolgente, Tao Lin è infallibile accompagnatore che sempre accondiscende alle nuances del collega, arricchendone l’interpretazione con ottimo gusto di suono e tocco...La Muerte del Angel, scelto come traccia di apertura del CD, che in meno di tre minuti offre un prezioso sunto del prodotto discografico in termini di qualità artistica, originalità degli arrangiamenti ed infine qualità tecnica.


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Radio Interview on Actualidad Radio

Radio Interview about the release of the CD "Tango Nuevo" on February 21st, 2014 on Actualidad Radio 1040 AM. 

A recording of this interview will be posted soon.

 

TV Interview for Show Business extra Interview for Show Business Extra

The TV Interview for Show Business extra will be airing soon. A YouTube link will be posted here.

 

Interview for Diario "Las Americas"

Una producción cargada de rabia, magia y pasión es lo que presenta el disco Tango Nuevo, un homenaje al compositor argentino Astor Piazzolla que refleja la fuerza del tango y traspasa las fronteras geográficas del género de la mano de dos virtuosos de la música clásica, el violinista argentino Tomás Cotik y el pianista chinoamericano, Tao Lin.


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MusicWeb International, Jan. 2014

Review of Piazzolla, Tango Nuevo CD


Tomas Cotik's arrangements for violin and piano on the present disc offer a much clearer glimpse of what Piazzolla might have achieved if he had concentrated on art rather than glamour. Buenos Aires-born Cotik, with no little help from pianist Tao Lin and one or two other high-calibre arrangers, turns the class up and the sleaze down.

Cotik even breathes life into the knacker's own Oblivion and Libertango.... there is no question that this disc is, by some distance, Naxos's best Piazzolla recording, one which probably gives the music connoisseur a good fifty percent of all the Piazzolla he or she needs to know.


Byzantion


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CNN latino - "Vida" with María Alejandra Requena

TV interview


TV Interview about the Piazzolla "Tango Nuevo" album was broadcasted on Dec 30th, 2013.


See pictures

 

The Observer, Jan. 2014

Review of Piazzolla: Tango Nuevo CD


I like Cotik's recording very much. The Tango Nuevo or "New Tango" is that which includes the influence of jazz, klezmer, and other European and non-Latin qualities. The driving rhythms of tango are present throughout and it can guide a listener's mood from pensive and intense to emotional and excited, with ease. The violin's tone is precise and clean. The interaction with the piano is similar to the intricacy with which the feet of tango dancers often intertwine.


The technical qualities of the recording - which is on the NAXOS label, by the way - are excellent.


 Robert W. Plyer


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The Claremont Institute by Robert R. Reilly, Dec. 2013

Review of Kenneth Fuchs CD


The Fifth is one of the finest quartets of the past several decades—American or otherwise.


There is little in contemporary music that is as directly expressive as the music of Kenneth Fuchs. It goes right to the heart and stays there. If you think America's song has already been sung, you need to listen to this.


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Buch, Kultur und Lifestyle - Helgas Musikträume, Jan. 2014

Review of Piazzolla: Tango Nuevo CD


Tango Nuevo ist ein anspruchsvolles Album, das jeden Liebhaber der Musik von Piazzolla begeistern wird. Hier findet er alles, was diese einmalige Musik ausmacht, Seelentiefe gepaart mit neuzeitlicher Klassik, Temperament und Rhythmus und immer wieder die Sehnsucht, die den Komponisten nie losgelassen hat.


Peter J. König


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MUSICWEB INTERNATIONAL Recordings Of The Year 2013

SCHUBERT CD nominated as RECORDING OF THE YEAR


My first chamber choice for the year. This Schubert duo album is a beautiful musical collaboration between violinist Tomas Cotik and pianist Tao Lin and one which I returned to multiple times throughout the year given its charm. Recording quality is also excellent, not too close with a nice sense of air around the performers.


Albert Lam


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Musical Toronto, Nov. 2013

Review of Piazzolla: Tango Nuevo CD


Violinist Tomas Cotik’s passionately personalized view of Astor Piazzolla


Cotik has found potent creative expression that combines roots as well as displacement, while adding something of himself to the final product.


The Piazzolla album is not just Cotik as brilliant interpreter — his virtuosic flame burns brightly as well as lightly, while not neglecting the quiet joys of glowing embers in more reflective passages — but also as creative mind. Seven of the pieces on the album are Cotik’s own arrangements, written to showcase his phenomenal technique as well as capturing the full rhythmic energy of the music.


Lin is an able, enthusiastic and equally fiery collaborator throughout.


In short, this album is a treat from start to finish — not just for fans of Piazzolla’s music, but for anyone who appreciates the art of playing the violin.


 John Terauds


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The Cotik/Lin Duo captivate thier audience at Cedarhurst, Sentinel 11/24/2013

Concert Review


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Duo featuring violin and piano set to perform at Cedarhurst

MOUNT VERNON — A concert featuring violinist Tomas Cotik and pianist Tao Lin will start at 7:30 p.m. Saturday, Nov. 23, in the Performance Hall inside the Mitchell Museum at Cedarhurst Center for the Arts. 


The Cotik/Lin Duo was founded in 2010, and today the international duo is recording music and performing around the world.


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David's Review Corner, Nov. 2013

Review of Piazzolla: Tango Nuevo CD


As an appointed expert on the music of the Argentinean composer, Astor Piazzolla, I have a steady trickle of new releases to review, this one among the very best. It starts out with the advantage of having the brilliant Argentinean violinist, Tomas Cotik, who is also responsible for most of the arrangements. The present performances ooze with the feel of smoochy dance halls of Argentina where the Tango began, and which was to form the basis of everything Piazzolla composed. Is it classical music? Well in the hands of Cotik it most certainly is, his technical command of the instrument absolutely impeccable, with intonation in the centre of every note, and his left hand flying around the fingerboard with remarkable agility. As he bends notes and slides around to create the mood of the music, you begin to wonder what this duo could do for the great jazz classics, the Chinese-American pianist, Tao Lin, an ideal and outgoing partner…this is one of the great Piazzolla discs, and in perfect sound quality, I urge you to buy it. © 2013 David’s Review Corner


​David Denton


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Classical Net: Brian Wigman, Nov. 2013

Review of Kenneth Fuchs CD


The "American" String Quartet was commissioned by the Delray musicians, who are based in southern Florida... There's a little bit of everything here, fun, nobility, and above all great art. The Delray play this work as anyone who has a work written for them should, with great care and obvious affection... I suggest you try this disc. It's very good, and deserves your time, both for the excellence of the music on display, and for the commitment and obvious depth that the performers bring.


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MusicWeb International: Dominy Clements, Sept. 2013

Review of the Schubert CD


…an uplifting quality which is emphasised by Cotik and Lin’s lightness of touch. I’ve had a listen to a few alternatives online just to orientate myself, including Isaac Stern and Daniel Barenboim on Sony Classics and Lydia Mordkovitch and Gerhard Oppitz on Chandos, but this duo on Centaur pretty much ticks all the boxes. …his clarity of colouring and dynamic allows the piano a more equal partnership than some… Tomas Cotik and Tao Lin form a very fine duo, and with new recording projects including work for Naxos this is clearly a team to watch. I am sure we will be hearing good things from them in the future. Meanwhile this superbly produced Schubert disc, while just one in a somewhat crowded market, comes warmly commended. 


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Palm Beach Arts Paper: On record: Local classical discs in review, Greg Stepanich, Aug. 31, 2013

Review of the Schubert CD


This survey of three large works for violin and piano by Franz Schubert is an exemplary presentation of some marvelous music…Cotik’s doctoral dissertation at the University of Miami was on these three Schubert works, and his notes for this recording are impeccably researched and gratifyingly unfussy… and carried out the results of his scholarly investigations most admirably…Tomas Cotik and Tao Lin have in their presentation of these too-often overlooked masterpieces honored not only their professions as musicians, but the memory and work of Franz Schubert. 


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Cantabile Magazine Review, Buenos Aires, Argentina, May/Jun., 2013

Review of the Schubert CD


Este disco que reúne al violinista argentino Tomás Cotik y al pianista chino Tao Lin, suma a la muy buena calidad musical el interés por el repertorio abordado…Registradas en 2011 en Florida (EE. UU.), las piezas revelan un aspecto de la obra schubertiana en versiones cuidadas y sumamente atractivas para el oyente, que gracias a los intérpretes alcanzan un alto nivel artístico. Si la música de cámara de Schubert es paradigmática dentro de su rubro, si el lector ama esa música y aún no conoce estas tres obras, hacerlo mediante este disco es muy recomendable.


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American Record Guide Review: Elaine Fine, Mar./Apr. 2013

Review of the Schubert CD


This is a beautiful recording… Both of these musicians use modern instruments, but they do their best, without compromising expression, to approach matters of phrasing…and articulation in an early 19th Century style… Cotik and Lin also let some of the virtuosic passages (and they are devilishly difficult) operate as filigree, and they allow for a hierarchy of dramatic intensity in all the pieces (especially the Fantasy), letting the “stops” out in all the right places. These readings are free from the nonsense that I sometimes hear from young players... What I hear is excellent violin playing, excellent piano playing, and extremely enjoyable interpretations of music that I love.


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E-mail Message by: Brian Newbould, Feb. 28, 2013

You have clearly sifted much relevant historical and documentary information and attempted an enlightened, historically-informed approach to the music.  Indeed I suspect you have gone further than others in this direction.... There has to be a balance between the undeniable virtuoso character of much of the music and the 'inner' spiritual quality which is present.  You both hold this balance most effectively and the performances place the music credibly as a product of its time and its composer.  In other words, I find the combination of brain and heart compelling. .. you capture the spirit of the music… I very much doubt that Paganini could have come near to playing this music with your understanding.

 

Phil’s Classical Reviews: Phil Muse, Audio Video Club of Atlanta, Jan. 2013

Review of the Schubert CD


They are among the most tuneful and ingratiating of all Schubert’s works, but they just don’t sit down and play themselves. The beauty is in the details, and to that extent Tomas Cotik and Lin Tao, both of whom have very active careers as chamber musicians, have been at pains to give the music the right amount of period style in order to optimally bring out its beauties. …the violin writing is usually more spare but absolutely brilliant when the violinist rises to the occasion, as Cotik does in the Rondo….The music is enchanting. The performances have unmistakable vitality, and they are optimally recorded…. So what are you waiting for?


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Fanfare Magazine Review: Robert Maxham, Jan./Feb. 2013

Review of the Schubert CD


…outstanding from the very beginning… pure tone.., … boldness of gesture…  should leave listeners almost breathless.…perfectly conceived ... notes don’t identify Cotik’s violin. In a way, it’s almost irrelevant, because playing of this strength would overshadow almost any instrument’s profile. Cotik and Lin make Kreisler seem almost smarmy…; the strong-minded Isabelle Faust, … almost—almost—mannered; and Julia Fischer’s with pianist Martin Helmchen on PentaTone ….as though she’s filed down the detail. …these performances should be required listening. But Cotik and Lin should also raise appreciation of those already captivated by the works’ charms to an even higher level, offering insights and vitality in almost every measure to spark their enthusiasm. Urgently recommended. 


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Fanfare Magazine Review: Maria Nockin, Jan./Feb. 2013

Review of the Schubert CD


The music on this disc is duet playing at a very high level. Not once in this intelligent and sensitive rendition do Cotik and Lin fall into the trap of becoming soloist and accompanist. Instead, they treat us to an equally weighted partnership that glories in changing colorations and shared emphasis. For Cotik and Lin, the Rondo in B minor is a showpiece that allows them to let the audience see what these virtuosos can do… On the whole this disc contains beautiful performances in which the violinist and pianist play as equal partners and with great musicality. I find the Cotik and Lin performances most interesting and the sound on their disc is excellent.


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New Classical Tracks Review: Julie Amacher, Minnesota Public Radio, Dec. 4, 2012

Review of the Schubert CD


Tomas Cotik has numerous professional dreams, the most recent of which is his sixth recording, a collection of chamber works by Franz Schubert with pianist Tao Lin.                                   Tomas has made some intriguing discoveries about those performance practices….Violinist Tomas Cotik is always up for a new challenge. His next project with pianist Tao Lin celebrates the music of Astor Piazzolla, the most famous composer from Tomas's homeland of Argentina 


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Daily Album Review 7: John Terauds, Musical Toronto, Nov. 22, 2012

Review of the Schubert CD


One of the latest gems to emerge from the season’s flowing waters is a wonderful album of violin and piano music by Franz Schubert.This initial result is impressive for the elegance and sensitivity of the interpretations. These two musicians seem particularly well matched, giving Schubert’s music gentle contours, subtly highlighting the ever-shifting textures in the accompaniment and, most important of all, letting each instrument find its voice and sing…true treasure here, beautifully executed and polished…


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Gapplegate Classical-Modern Music Review: Grego Applegate Edwards, May 2013

Review of Kenneth Fuchs CD


This is the sort of album that seems to well epitomize what a composer is about. And Fuchs’ music is singular enough that what is going on in his music stands out with a kind of hard-drawn clarity…The Debray String Quartet sounds great in their performance of what is a very pleasing, moving piece ….Fuchs delivers an extremely powerful punch with these three works sequenced as they are on the CD. The triumvirate of sounds acts as a kind of monumental remembrance in musical terms. This is a high form of discourse indeed. Recommended! © 2013 Gapplegate Classical-Modern Music Review  


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American Record Guide Review: Mark L. Lehman, Oct. 2013

Review of Kenneth Fuchs CD


Fuchs’s Fifth Quartet, also a recent production, is subtitled American. At 27 minutes this is a substantial effort,…more pastoral and optimistic in character …than the other works here… more tonal in vocabulary, with singing folk-style melodies and graceful or celebratory string figurations that pulse, oscillate, dart, and trill with infectious vivacity. Most listeners will find this quartet open-hearted and immediately appealing…The piano trio and quartet are, like Falling Canons, expertly played and recorded in exceptionally clear, vivid sound, its high quality no doubt due in part to the guiding hand of veteran engineer and producer Judith Sherman, whose name on almost any recording pretty much guarantees that everything about its production will be first-class. 


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Grammophone Review: Ken Smith, Sept. 2013

Review of Kenneth Fuchs CD 


…few composers have gained as much mileage – or found greater range – that Fuch’s ‘Falling’ works……Fuch’s American String Quartet, by far the longest of the three pieces here, though its relative freedom in structure establishes a clear emotional space between the ‘Falling’ works. Likewise, the exhilarating momentum of the Delray String Quartet offers a welcome change from the intellectual rigour of O’Riley and the emotionally contemplative playing of Trio21.


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MusicWeb International: Gary Higginson, Sept. 2013

Review of Kenneth Fuchs CD


The writing is always attractive and idiomatic. As a whole there is an individuality about this music which makes one want to return to the work … and to hear the other four quartets. This is the highlight of the CD. The Delray Quartet were the commissioners and first performers. They clearly understand exactly what Fuchs’ intentions are. No composer could want more. 


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David’s Review Corner: David Denton, May 2013

Review of Kenneth Fuchs CD 


The Fifth String Quartet was completed in 2011, and though he subtitles it ‘American’, its roots are in Europe, not least of all in the UK. Basically a melodic and lyric work, that is most readily attractive, even to conservative ears… Commissioned by the performers on the disc, the Delray String Quartet, the score is in four movements taking us through contrasts in tempo and mood. Though little known outside of North America, the performers are obviously a fine ensemble who produce a well-balanced and beautiful tonal quality…Much recommended. © David’s Review Corner


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Fanfare Magazine Review: Phillip Scott, Sept. 2013

Review of Kenneth Fuchs CD 


Fuchs is certainly…a musical discovery I have been delighted to make. As to the performances, they are without exception marvelous…Both the American and the Delray Quartets play with commitment and insight;…All three discs are confidently recommended to lovers of new music that has got something to say and does not go out of its way to be alienating. © 2013 Fanfare


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Fanfare Magazine Review: Jerry Dubins, Sept. 2013

Review of Kenneth Fuchs CD


Of Fuchs’s “American” String Quartet…the opening movement may be one of the most drop-dead gorgeous things I’ve ever heard, and that I can’t think of another composer since Shostakovich who has drawn such sonorities from a string quartet. This is a masterpiece and, in my opinion, makes Fuchs the greatest living American composer. The work was written for the Delray String Quartet whose members…play it magnificently on this disc. © 2013 Fanfare


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Fanfare Magazine Review: David DeBoor Canfield, Sept. 2013

Review of Kenneth Fuchs CD


Fuchs’s “American” Quartet was commissioned by the Delray String Quartet, which performs it exceedingly well here. Its subtitle derives from the stylistic influences of the American symphonic school that have dominated the composer’s recent music, and a broad angular “American” theme ties together the four movements of the work. Beyond that, I also hear a fair number of “American” open fifths, and some lively quasi-folk fiddling in the final movement. All of it does an excellent job in meeting the composer’s goal of portraying the brash optimism of the American spirit.


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Classical Lost and Found: Bob McQuiston, May 2013

Review of Kenneth Fuchs CD


All of the works here were composed specifically for the artists playing them, and the performances are accordingly totally committed…the Florida-based Delray Quartet play Fuch’s most recent effort in the genre with great panache. © 2013 Classical Lost and Found 


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Festival Miami Offers a Generous Piazzolla Sampler

Recreating the visceral charge of Piazzolla’s legendary quintet concerts and recordings… a high-tech combo in four of the composer’s most popular tango creations. Violinist Tomas Cotik channeled tones both lush and astringent…


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Violinist Pays Tribute to Piazzolla, Master of the Tango

Tomas Cotik, an Argentine-born violinist resident in South Florida, who is a doctoral student and teaching assistant at the University of Miami, is paying tribute to this composer of his homeland tomorrow afternoon at UM and on Saturday night at radio station WDNA’s Jazz Gallery with a concert of violin and piano music devoted entirely to Piazzolla.


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Tchaikovsky Quartet Ends Delray SQ Season in Winning Style

…the Delray gave solid, powerful accounts of two core repertory pieces before closing with an encore by the nation’s most recent Pulitzer Prize winner for music… Second violinist Tomas Cotik, new to the foursome this year, makes a fine addition, as could clearly be heard throughout Sunday’s concert.


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The Delray Offers a Varied Program with Two Russian Rarities

The Delray String Quartet has been adding luster to the South Florida music scene now for seven seasons. Second violinist Tomas Cotik, new to the group this season, has quickly become integrated into the ensemble, which has developed a following across three counties….The piece eventually erupts into an angry and ferocious fugue, which confirmed in glorious fashion the skills of each Delray member, with the players ripping into the music with savage abandon.


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Delray Quartet Advances

Concert Review


So it’s a pleasure to report that the new second violinist of the Delray String Quartet, Tomas Cotik, makes a fine addition to this ambitious group, which opened its seventh season…Cotik also has a strong and distinctive sound, and in most of the concert he and violist Richard Fleischman supplied a vivid, virile middle to the music, with solo work from both men making full impact.


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Delray Quartet Opens Season with New Member, Richer Sound

Concert Review


Cotik, a former member of the New World Symphony and a teaching assistant and doctoral student at the University of Miami’s Frost School of Music, made his debut with the quartet at Friday’s concert at All Saints Episcopal Church. While it’s unclear whether Cotik’s presence was the reason, the quartet—always one of the brighter stars on the local music scene—played with greater authority, cohesiveness and consistency than in the past. 


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Symphony Concertmaster to Present Two Concerts

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Quartet Program to Focus on Jewish Composer

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International Event Provides a Unique Alternative

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Symphony Announces Its Upcoming Season

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AC Suzuki String Program in Its 30th Year

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Changes Mark year in the Arts

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Quartet to Debut Its New Lineup

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Harrington String Quartet Names Violinist

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