ElisabethBrauß

Press

• Ravel Piano Concerto in G major with BBC Philharmonic

  Victoria Hall, Hanley & Bridgewater Hall, Manchester

  Feb 2026 - Feb 2026

  • Under Adam Hickox’s direction, the orchestra was joined by pianist Elisabeth Brauß for a concert that moved fluidly between coloristic refinement and impressive virtuosity. A sharp whip crack announced the arrival of Ravel’s Piano Concerto in G major. From the outset, Brauß kept a tight rein on the tempo, refusing to let the Allegramente run away with itself. Her first solo entry was highly expressive, displaying a subtle and nuanced palette. Each staccato note felt carefully articulated, like a varied array of punctuation marks. The harp solo was delicate and fluid, subtly echoing Les Eaux célestes. In the lower register approaching the movement’s climax, Brauß showed an exceptional ability to voice the two hands, bringing clarity to passages that can otherwise sound heavy-handed. Time seemed to stand still in the Adagio assai. Brauß took a moment of silence before beginning the extended opening solo, drawing the audience into an atmosphere of intense concentration. Her pianissimo was sublime, the phrasing eloquent and finely balanced. Particularly striking was her emphasis on inner voices, a refreshing interpretative choice that added depth to the texture of the piano writing. Gentle rubato enhanced an already expressive reading. Brauß and Hickox kept the dynamic range deliberately narrow, and through careful shaping and subtle colour changes, achieved a focused and intense movement. The slightly broader tempi of the earlier movements made the Presto finale feel all the more exhilarating. Brauß’ dexterity here was dazzling.

    • Bachtrack
    • 09 February 2026

  • The German pianist Elisabeth Brauß (Brauss) appeared in a sparkling top that matched the concerto’s sparkle. It began with the crack of a whip, like a circus ringmaster announcing the delights that were to come. Brauß’s playing was superb throughout the first movement, beautifully even, gently evocative, stunningly rhythmic and virtuosic, perfectly controlled. She shone in her brief cadenza, and her playing was richly warm when accompanied by the orchestra. The movement ended with a fierce passage rising from the depths of the piano and a robust downward orchestral flourish. The second movement began in complete contrast, with a gentle piano solo. This was the highlight of the concerto… Brauß played it supremely evenly, with great compassion and a touch of rubato. This created an anthemic, almost religious feel. The audience listened spellbound. A gentle waltz ensued, with a heartbreaking top note in the melody. When the orchestra crept back in, the mood was perfectly retained. Brauß played the blues notes with perfect composure and conviction. At the end of the movement, the hall was absolutely quiet. The final movement began with a bang, the orchestral soloists having fun with the Stravinsky-like jollity of their lines. We were back in the world of Gershwin again, almost sarcastically so. Brauß was again in complete control, her playing inventive and jolly. At one point, she set off at great speed, as if playing music for the most frenetic of Warner Bros. cartoons, incredibly virtuosic. The movement ended very suddenly, and there was enthusiastic applause as Brauß smilingly took her bows.

    • Nick Holmes Music
    • 09 February 2026

• Anna Clyne's Atlas Piano Concerto with Minnesota Orchestra

  Orchestra Hall Minnesota, Minneapolis

  Oct 2025

  • Despite the promise of Beethoven’s Fifth on the concert’s second half, Clyne’s 2024 work seemed the day’s main event, especially with a buzz-creating young soloist like Brauss at the piano. Brauss handled this pseudo-concerto’s many mood swings with aplomb, most impressively when shifting from soft, stark simplicity to a swinging Bach-meets-Brubeck jazz interlude in the final movement. It’s a piece that doesn’t ask a pianist to deliver much in the way of flowing melodic lines until a theme inspired by Bach’s “Well-Tempered Clavier” emerges near the end. Yet the almost-capacity crowd was clearly impressed, offering a lusty ovation that inspired an encore by Beethoven, the slow movement from his Sonata No. 10.

    • Rob Hubbard, The Minnesota Star Tribune
    • 16 October 2025

• Wigmore Recital 2nd December: 'Farewell'

  Wigmore Hall

  Dec 2024

  • Exquisitely poised and phrased, ideal in its feeling which came from the notes as much as from our knowledge of what awaited Schumann. The variations, often dismissed for staying too close to the theme, were here forged by Brauß into one heavenly song. A bold piece of programming, acclaimed by the audience as if the pianist had just played Carnaval.

    • Roy Westbrook, bachtrack
    • 03 December 2024

• Australia Musica Viva Tour with Noa Wildschut

  Australia

  Nov 2023 - Apr 2024

  • Noa Wildschut and Elisabeth Brauss are a near perfect combination, and a fine example of how acute communication skills are at the heart of successful ensemble playing.

    • Kym Clayton, The Barefoot Review
    • 15 November 2023

  • ...they are a supremely talented duo with a rare combination of energy and artistry. They also have great chemistry and an almost telepathic musical understanding of each other.

    • Steve Moffatt, The Daily Telegraph
    • 18 November 2023

  • Leading international soloist Elisabeth Brauss joined Wildschut on stage, partnering her with supreme musicality, technique, intelligence and adaptability.

    • Helen Rommelaar, Classic Melbourne
    • 26 November 2023

  • Wildschut and Bruass’ refined and thoughtful phrasing was mesmerising as the long, asymmetric passages were effortlessly weaved in between the two parts in a magical dialogue.

    • Dante Costa, Canberra City News
    • 28 November 2023

  • Though both are still in their twenties and have achieved impressive individual accolades, it is the partnering of Dutch violinist Wildschut and German pianist Brauss that has been hailed as one of the most exciting musical partnerships heard in years.

    • Bill Stephens OAM, Australian Arts Review
    • 02 December 2023

• Bacewicz: Piano Concerto etc. - Finnish Radio Symphony Orchestra

  Album Review

  Jun 2023

  • ★ ★ ★ ★ ★

    • Rebecca Franks, BBC Music Magazine
    • 14 June 2023

• Bacewicz Concerto for Two Pianos - Finnish Radio Symphony Orchestra

  Album Review

  Jun 2023

  • Altogether this is a disc as thought-provoking as it is engaging.

    • David Fanning, Gramophone
    • 01 July 2023

• Grieg Piano Concerto - Hallé Orchestra

  The Bridgewater Hall, Manchester

  Jan 2023

  • Brauss’s way with the meditative reverie of the second movement was spellbinding. Holding a hushed atmosphere is clearly one of her gifts, and her encore played to that strength

    • Rebecca Franks, The Times
    • 26 January 2023

• Duo Recital with Simon Höfele - Pilss, Savard, Ravel & Gershwin

  K3N - Stadthalle Nürtingen

  Nov 2023

  • Pilss Trumpet Sonata (2nd Mov): Das Weiterreichen von Motiven in Frage-Antowrt-Manier spiegelt ein Gespräch zwischen zwei Menschen wider, die sich verstehen. Im Allegro agitato entfaltet die Pianistin Elisabeth Brauss orchestrale Pracht mit zupackenden Handen, um dann federleicht und scheinbar mühelos in rasende 32stel-Läufe überzugehen.” Passing on motifs in question-and-answer fashion reflects a conversation between two people who understand each other. In the Allegro agitato, the pianist Elisabeth Brauss unfolds orchestral splendour with gripping hands, then transitioning, as light as a feather and apparently effortlessly, into frenzied 32nd notes. Ravel: Sonatine Elisabeth Brauss atmet mit ihrem Klavier, sie liebt ihr Instrument, sanft und traumwandelnd streicht sie über die Tasten. Welch ein Hörerlebnis! Alles ist Klang, leise rieselndes Rauschen lässt Klang-wolken entsehen, pastose Durchsichtigkeit und exotische Tonfolgen verzaubern. Mit verschqimmenden modernen Akkorden und wechselnden Klangfarben malt die Kunstlerin ein Impressionistisches Gemälde, man as soziiert Bilder von Claude Monet. Elisabeth Brauss breathes with her piano, she loves her instrument, she strokes the keys gently and dreamily. What a listening experience! Everything is sound, gently trickling noise lets clouds of sound emerge, impasto transparency and exotic tone sequences enchant. With fading modern chords and changing timbres, the artist paints an impressionist painting, one associated with pictures by Claude Monet.

    • Hans-Günther Driess, Nürtinger Zeitung
    • 01 December 2021

• Recital: Beethoven, Mendelssohn & Prokofiev

  Wigmore Hall

  Oct 2023

  • Brauß brought an aura of serious intent but pleasurable delight in the music she presented to a live audience. [Beethoven’s Piano Sonata No. 7:] Brauß’ approach was brisk, her touch fresh and bright in a spirited performance of the first movement that honored the composer’s classical roots as well as his journey into uncharted musical waters. […] Brauß’ technical facility was evident in the Mendelssohn Variations Sérieuses [...] The artist found a distinct character in each variation, and quickly, though smoothly, shifted from one mood to the next, concluding the set with the softest touch. Linda Holt, Bach Track, 12 Oct 20 [Beethoven's Piano Sonata No. 7:] "Taking the first movement at a proper Presto (as marked) yet with real attention to detail (fizzing sforzati, lovely voice-leading, perfectly firm bass) this performance was never less than fascinating. Opting for a restrained dynamic level for the recapitulation’s opening yet retaining the exact same placement of the final bare octaves A natural was an eyebrow-raising moment: Brauss is clearly unafraid to make a statement. Her marriage of musicality, technique, and intelligence is rare.

    • C Clarke, Seen and Heard International
    • 01 October 2021