Maya Homburger baroque violin
"It is partly the subtle flexibilities of her rhythmic approach that breathes life into these scores; one should also mention the beautiful sound she gets from the violin, a sound which seems to bloom in the acoustic of St. Ann's. In her hands the 'period instrument' becomes the only one that allows the music to communicate fully."
Douglas Sealy, Irish Times 6 March 2001
"…..Es dauert, bis Ruhe einkehrt, jeder Zuschauer an diesem Mittwochabend in der seit Wochen hoffnungslos ausverkauften Thomaskirche eine günstige Sitzposition für die nächsten dreieinhalb Stunden gefunden hat. Bis das letzte erwartungsvolle Tuscheln abebbt, das letzte Gebälk geknackt hat, sogar das letzte Hüsteln abgedämpft wird. Dann noch ein kurzes Rascheln. Atmen. Stille. …..
Aus dieser Stille heraus formt John Eliot Gardiner mit den English Baroque Soloists die ersten magischen Akkorde der Matthäus-Passion. Noch traut man dem Orchester bei diesen empfindsamen Klängen nicht zu, dass am anderen Ende seiner farbenreichen Ausdrucksskala ein aufbrausendes Gewitter steht. Noch ahnt man nichts vom himmlischen Solo der Konzertmeisterin Maya Homburger, die zusammen mit der wunderbaren Altistin Clare Wilkinson die "Erbarme dich"-Arie zum ergreifendsten Moment, zur Sternstunde des Abends werden lässt….."
(Tobias Wolff Leipziger Volkszeitung, Leipzig, 6. Mai 2005)
"Her music was full of poetry and fantasy and came across as fluently and as lightly as thought itself. Her playing of Biber's Passacaglia, 64 repetitions of a four-note descending bass line over which the music spins out and elaborates itself like smoke, was filled with freedom, balance and momentum."
Stephen Pedersen, Halifax Nov. 1999
Guy's "Celebration" is a challenging solo piece for Baroque violin, played by Homburger with intelligent musicianship and stunning technical facility. The two absorbing duos for violin and bass are both effective. "Immeasurable Sky" explores intriguing combinations of bowed and percussive sounds, while "Breathing Earth" brings the disc full circle. Incorporating free quotations from Biber it involves some remarkable role-swapping, Homburger, for example, holding a pedal note while Guy indulges in his innovative, eye-opening improvisatory skills.
"... The highlight for me in the Dublin musical calendar this year were the two concerts of Bach solo violin music by Maya Homburger in St. Ann's. And then, she played as an encore, a piece by Barry Guy. She played it brilliantly, and she can do both things. That is the kind of musician that is needed to complement the kind of impresario who has a vision. If you put those two together, you are going to win."
"The instrument alone is powerless, but controlled by one for whom it seems a natural extension of the voice, it translates the printed notes into sounds that transcend their origins. You have to be a virtuoso to perform this music, but if you have the soul of a virtuoso all is lost, for then the music takes second place to display. Maya Homburger does not interpose her personality between Bach and the listener, but strives to convey all that the composer intended. We cannot know exactly what that was, but I think the audience in St. Ann's church on Sunday experienced this music to the full ... These works for solo violin have, in the performance we heard, a sense of the highest that can be seen as an act of worship."
Douglas Sealy, Irish Times, Feb. 1999