Lastly, Dvořák’s Piano Quartet No. 2 in E-Flat Major wrapped up the evening with a fine, nuanced performance. Atapine’s lyrical playing of the prominent cello role in the second movement was sheer pleasure, but the whole was an expressive performance full of contrasts, warmth and life.
Dmitri Atapine gave a remarkable performance of Ligeti’s Sonata, which he played effortlessly, with purity, clarity and a good balance of tenderness and command.
Hristova and pianist Chien returned, with cellist Dmitri Atapine, for an evocative rendering of the Shostakovich trio. Here the Mozartean virtues of taut line and clear intention brought out the neoclassical character of the first movement, especially in Chien’s simple yet eloquent introduction of the main theme and rock-solid pulse throughout. Incisive and expressive string playing completed the picture.
Dmitri Atapine had a particularly captivating stage presence, engaging both his audience and his ensemble with his cello playing.
Winn’s entertaining “Variations on a Theme of Bartók” [...] gives Dmitri Atapine a brilliant showcase for his expressive sound and acrobatic chops.
se cerró la primera parte con el melódico Primer Cuarteto de cuerda , Op. 5 de Milhaud en el que el violonchelista Dmitri Atapine se convirtió en líder del grupo. [The first half closed with the melodious First String Quartet, Op. 5 by Milhaud, where the cellist Dmitri Atapine became the leader of the group]
Federico Agostini, violin, Rebecca Albers, viola, and Dmitri Atapine, cello, realized both the rhythmic intricacies and the lyrical lines of the work [Dohnanyi Serenade] with great skill. [...] the performance gave appropriate emphasis to the viola and, especially, the strong energy surging from the cello.
Beauty, warmth, lyricism and deep sentiment would be just what we could expect and it was supplied in ample measure by cellists Dmitri Atapine, Julie Albers, and Antonio Meneses, with pianist Derek Han.
[in Leon Kirchner’s Trio No. 2 for Piano, Violin and Cello] there are lots of big, soaring tunes for the cello – beautiful and intense playing from Dmitri Atapine – followed and pushed along by the other two instruments.
Daniel Phillips’s phrases were long and impassioned in [Brandenburg Concerto] No. 1, which also featured confident work from the cellist Dmitri Atapine and the bassist Kurt Muroki
The beauties [in Messiaen’s ‘Quartet for the End of Time’], at any rate, were legion – [...] cellist Dmitri Atapine‘s rich tone, color sense and heartbreaking inflections in the fifth, “Praise to the Eternity of Jesus” [...]
Cellist Dmitri Atapine compounds matters by identifying so closely with the music’s mostly tonal flow and 2012 sense of portamento – exploratory rather than merely expressive – that the result is outright seduction. While Atapine is taking command with brilliant technical chops and a free broad way with the phrasing, Adela Hyeyeon Park is doing her part with precision, power and tremendous glee.
These two multi-award winning musicians prove to be highly persuasive advocates, and [...] Dmitri Atapine’s playing is highly impressive throughout.