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Quickborner Tageblatt 28/03/2017: Charismatischer Künstler Markus Groh überzeugt mit romantischer Klaviermusik.
Schumanns monumentale C-Dur-Fantasie, Op 17 - … Groh gelang es, die weit gespannten Räume des romantischen Werkes in makelloser Gestaltung zu durchmessen. Das war große Klasse!
Nach lang anhaltendem Beifall sorgte Groh mit einer Liszt-Transkription aus dem „Tannhäuser“ von Richard Wagner und einer Interpretation von Schuberts „Die Forelle“ in einer Bearbeitung von Franz Liszt für einen heiter beschwingten Ausklang an diesem Abend.- Redaktion des Quickborner Tageblatt - Full article

Independent Santa Barbara 22/11/2016 : S.B. Symphony Performs with Two Pianists
Natasha Kislenko and Markus Groh Join Orchestra for Remarkable Performance
Mozart’s Concerto for Two Pianos in E-flat Major. The energetic composition pairs two pianos opposite each other and is written as a musical dialogue with two unique voices. Like a duel, Kislenko and Groh exchanged Mozart’s melodies not only with one another but with the formidable sound of the symphony members. A true drama that left the audience breathless, Kislenko and Groh received a lengthy standing ovation.
The final piece, Tchaikovsky’s deeply sensuous Piano Concerto No. 1 in B-flat Minor was Groh’s turn to enchant, his style of playing stern and physical. Tchaikovsky’s high-intensity composition paired with Groh’s incredible precision commanded a powerful final applause. - Gabriel Tanguay - Full article

Ohama.com 22/10/2016: Omaha Symphony & Markus Groh
German pianist Markus Groh making his Omaha Symphony debut offered an impressive performance of Liszt’s Piano Concerto No. 1 in E-flat Major for Piano and Orchestra. The 46-year-old has become celebrated for his interpretations of Liszt since winning the Queen Elisabeth International Competition in 1995. Sporting a shoulder-length ponytail, he both looked and sounded youthful in performance. Groh is that rare artist who balances ample power with the lightest of touches. Commanding without ever being muscular, he offered beauty and evenness of tone, silky smooth arpeggios and flawless trills. .. At the end of the piece, a fellow to the left of me shot out of his seat exclaiming, “Oh, boy!” - Michael Lyon - Full article

www.classicalsource.com 8/03/2013 : Brussels Philharmonic Orchestra & Markus Groh & Michel Tabachnik  at Cadogan Hall
Bartók: Piano Concerto No.3 - …Markus Groh made an impressive soloist, his massive hands and fluent playing making light of Bartók’s demands and there was a notably close rapport with the orchestra. The first movement’s quizzical ending, almost a question mark, was particularly well-timed and the pianist’s plangent little duet with the oboe in the slow movement sounded Coplandesque in its innocence. - Douglas Cooksey

www.tampabay.com 28/01/2012: Soloist shines in Bartok program at Florida Orchestra's Morning Masterworks concert
Markus Groh seems born to play the piano, with his long arms and big hands, and the ponytailed German showed that to be true Friday morning as he gave an amazing performance as the soloist in Bartok's Piano Concerto No. 2, with music director Stefan Sanderling and the Florida Orchestra at Mahaffey Theater. The piano part is absurdly difficult, but Groh blasted through long stretches of almost continuous playing with athletic ease, dashing off trills, scales and chordal clusters like so many diamonds. He also brought a sensitive touch to the "night music" of the Adagio. - John Fleming

www.kcmetropolis.org 7/06/2011 : Balanced, confident, cohesive Schumann and Beethoven
Beethoven’s Third Piano Concerto, Op. 37 - …I found guest pianist Markus Groh’s playing enjoyable from his first notes. Textures were clear and Groh brought across a beautiful, refined tone very suitable for this Beethoven. Additionally, Mena and Groh worked well collaboratively; Groh was excellent at lyrically shaping the music at a micro level, while Mena concerned himself with shaping the orchestra’s overall macro direction of the movement and expertly controlling the balance of piano and orchestra throughout. …The concerto’s Largo movement achieved an expansive stride while Groh’s tone became more muted and delicate. …Groh developed nice tonal contrasts between the principal rondo theme incarnations and the delicate, introspective una corda moments. - Christopher Levin

www.oregonmusicnews.com 10/05/2011 : Groh delivers superb Portland Piano International recital and tops it with three encores
German pianist Markus Groh’s recital Sunday for the Portland Piano International series at the Newmark Theater brought shining moments of piano virtuosity and dynamic expression to Mother’s Day. Groh’s performance wowed the audience and was met with a standing ovation following the final piece.
Alban Berg, Op. 1 - …His interpretation of the calm, atonal piece was understated and lovely. He approached it with clarity and restraint, two characteristics that permeated the performance. Coupled with minimal use of pedal, this crispness created a very dry sound that felt a little too controlled at times.
Groh also played Beethoven’s Sonata in A-flat major, whose third movement was truly moving. Its Arioso dolente section was particularly expressive, and he played it with perfect gentleness, never exaggerating the dynamics. The Fugue section was played with impeccable crispness and clarity. Robert Schumann’s Carnaval - …Groh’s change of mood for each vignette was remarkable. There were moments of triumph, playfulness, idyll, and even creepiness,… The three encores included works by Debussy, Liszt, and Haydn, exhibiting both his virtuosic ability and his facility with dynamics. Groh’s tender, more expressive moments, and his fully blasting moments of agile fortissimo, were the highlights,… - Kirsten Thom

Democrat and Chronicle 5/03/2011: Yoav Talmi & Markus Groh
The Beethoven concerto contrasted, highlighting sophistication in simplicity. Groh, a German pianist, churned out a buttery tone from the RPO Steinway. He masked the attack and release of each note, his flawless runs sounding as one single shimmering line. His rubatos gave his interpretation a slight, tasteful modern edge. Groh’s second movement mysteriously sang out the reflective melody at a whispering dynamic. In the third movement, he alone on the piano impressively matched the volume of the entire orchestra in a playful call-and-reponse section. - Anna Reguero