“To make the viola a viable solo instrument requires an exceptional player. In an often rewarding program, Hertenstein produced a consistently silken tone...and let loose some fireworks.”

—THE WASHINGTON POST

“Violist Veit Hertenstein has a career in front of him. He plays with maturity, technique, thoughtful musicianship, and a tone of dark honey.”

—THE BOSTON MUSICAL INTELLIGENCER

“The young Veit Hertenstein played with the most beautifully warm and singing viola sound.”

—BADISCHE ZEITUNG (Switzerland)

Photo: Christian Steiner

YOUNG CONCERT ARTISTS, INC. 250 West 57 Street, Suite 1222 New York, NY 10107

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2011 Young Concert Artists International Auditions

The Slomovic Orchestra Soloist Prize • The Peter Jay Sharp Prize • Candlelight Concert Society Prize The Embassy Series Prize • The Saint Vincent College Series (PA) Prize

The Albany Symphony Prize • The Paramount Theatre (VT) Prize

The Festspiele Mecklenburg-Vorpommern Prize• The Usedom Music Festival Prize

2010 Verbier Festival’s Henri Louis de la Grange Viola Prize

First Prize, 2009 European Broadcasting Union New Talent Compeition

First Prize, 2007 Orpheus Competition

VEIT HERTENSTEIN, violist

VEIT HERTENSTEIN, violist

One of the most exciting musicians on his instrument to emerge in years, German violist Veit Hertenstein “plays with maturity, technique, thoughtful musicianship, and a tone of dark honey” (The Boston Musical Intelligencer). Mr. Hertenstein has appeared in recital at the University of Florida Performing Arts, the Candlelight Concert Society, Music for Youth, and the Jewish Community Alliance. He also performed the world premiere of Nicolas Bolens’ Viola Concerto at the Geneva Conservatory in Switzerland, a commission awarded by Pro Helvetia. In his first season touring the United States, Mr. Hertenstein performed at the Washington Center for the Performing Arts, the Levine School of Music in Washington, DC and Kleinhans Music Hall in Buffalo. As a chamber musician, he has appeared in the Young Concert Artists Festival Week in Tokyo, the Obernai Chamber Music Festival in France, with the Chamber Music Society of Lincoln Center, in Switzerland at Seiji Ozawa’s International Music Academy, the Menuhin Festival and the Verbier Festival, where he was awarded the “Henri Louis de la Grange” viola prize; in Germany at the Davos Festival; and at the Marlboro Festival in Vermont. Mr. Hertenstein has been a guest artist with the Trio Wanderer, the Modigliani Quartet, the Ysaÿe Quartet, and with violinist Midori in Japan. Mr. Hertenstein has won several prestigious competitions. In 2009 he was the first violist to win the New Talent Competition of the European Broadcasting Union in Slovakia. He was a prize-winner of the first Tokyo International Viola Competition, which led to engagements at La Folle Journée Festivals in Nantes, France, and Tokyo, as well as at the Viola Space Festival in Tokyo where he returned in 2013. In 2007 he was the first violist to win First Prize at the Orpheus Competition in Zurich, Switzerland, which brought him a debut recording on Euro-Classics. First Prize Winner of the 2011 Young Concert Artists International Auditions, Mr. Hertenstein made his New York debut at Merkin Hall in the Peter Jay Sharp Concert and his Washington, DC debut at the Kennedy Center, as well as his debut at Boston’s Isabella Stewart Gardner Museum.

Born in Augsburg, Germany, Mr. Hertenstein began studying the violin and piano at the age of five and switched to the viola when he was fifteen. At nineteen, he went to Zürich to study with Nicolas Corti, violist of the Amati Quartet. In 2009 he graduated from the Haute École de Musique in Geneva, where he worked with violist Nobuko Imai (YCA Alumna) and Miguel da Silva, violist of the Ysaÿe Quartet. He plays a 1701 David Tecchler viola.

[Pronounced: Vyte Hair-ten-stine ] ______________________________________ NOTE: When editing, please do not delete references to Young Concert Artists nor special prizes. Please do not use previously dated biographies. 6/2014

VEIT HERTENSTEIN, violist

REPERTOIRE WITH ORCHESTRA

BARTÓK Concerto for Viola, Op. Posth. BOLENS Concerto for Viola and String Orchestra, for Veit Hertenstein BRUCH Romance in F major, Op. 85 Concerto for Clarinet, Viola, and Orchestra in E minor, Op. 88 CASSADESUS Concerto for Viola in C minor in the style of Johann Christian Bach Concerto for Viola in B minor in the style of Georg Friedrich Handel ELGAR Concerto for violoncello in E minor, Op. 85 (Arr. Lionel Tertis) ENESCU Concertstück for Viola HINDEMITH Trauermusik for Viola and String Orchestra Der Schwanendreher Kammermusik No. 5, Op. 36 Konzertmusik, Op. 48 HOFFMEISTER Concerto for Viola in D major MOZART Concerto in A major, K. 622 (Arr. for Viola) Sinfonia Concertante in E-flat major, K. 364 PAGANINI La Campanella PIAZZOLLA Le Grand Tango for Viola and String Orchestra SCHNITTKE Concerto for Viola STAMITZ Concerto for Viola in D major, Op. 1 TELEMAN Concerto for Viola and String Orchestra in G major, TWV 51:G9 VIVALDI Concerto for Viola d’Amore and String Orchestra in D major, RV 392 Concerto for Viola d’Amore and String Orchestra in A minor, RV 397 WALTON Concerto for Viola in A minor WEBER Andante e Rondo Ungarese, Op. 35

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Veit Hertenstein, violist

Tones of Dark Honey at the Gardner Elisa Birdseye The Boston Musical Intelligencer January 28, 2013

Violist Veit Hertenstein has a career in front of him. At 25, he has already won numerous prizes and competitions, and he plays with beauty and maturity, technique and thoughtful musicianship. His viola sound is very reminiscent of the late master, William Primrose, a tone of dark honey, more tenor than alto, very clean, and sweet. He was joined on Sunday at the Isabella Stewart Gardner Museum by Pei-Yao Wang, a pianist of considerable accomplishment herself. The program opened with Robert Schumann’s Sonata in a minor, op. 105. This work, originally for violin, featured fevered romanticism, rowdy 16th note passages, and in the first movement, Mit leienschaftlichem Ausdruck, some brutal octave passages in the coda, which Hertenstein played smoothly. The next work was a set of movements from Prokofiev’s Romeo & Juliet. Russian violist Vadim Boriskovsky arranged 13 of the movements from the orchestral suites for viola & piano, and from these, Hertenstein chose 5 for a mini-suite, Introduction, Juliet as a young girl, Montagues and Capulets, Mercutio, and Death of Juliet. These movements allowed Hertenstein to demonstrate his considerable ability to convey narrative. Indeed, all the works on this program seemed chosen with an eye to showcase his ability to portray meaning beyond just the notes on the page. These movements were mini-film scores, with Juliet’s fleet feet dancing across a stage, the argumentative families, Mercutio’s whimsical clowning, and finally, in the last movement while the viola was playing muted, a brutal sfz stab in the piano, which was clearly the “happy dagger”. Nino Rota best known as one of the great film composers of the 20th century, was also a prolific composer of concert music. His brief Intermezzo for viola & piano was written in 1945, and demonstrates his gifts for both melody and drama. It carries a lovely hint of renaissance tonality. Hertenstein played it to perfection. Shostakovich’s 24 Preludes op. 34 were written in 1933 for solo piano. Hertenstein demonstrated talent as an arranger, transforming four of these pieces, Nos. 10, 15, 16, and 24 for viola and piano duet in completely idiomatic style. All the pieces have the fiendish humor that Shostakovich can portray so well. Bravo on both the performance and the arrangements. The concert concluded with a spirited rendition of Astor Piazzolla’s Le Grand Tango for cello and piano. This was the only time the viola was almost overpowered by the piano. Throughout the concert, Wang’s sensitive, expansive playing forged an equal partnership, at times managing to allow the duo to sound more like a vocal duet than two very disparate instruments. A standing ovation led to one final outing, Maria Theresia von Paradis’s Sicilienne, a thoughtful little transition back to the real world from the realm in which we’d been.

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