Thomas Zehetmair’s ability to skillfully blend his musical interests is unparalleled. He enjoys widespread international acclaim not only as a violinist, but also a conductor and chamber musician, making him one of the most prominent artistic personalities of today. Since the 2016/17 season he is Principal Conductor of the Musikkollegium Winterthur and an Artistic Partner with the St Paul Chamber Orchestra. Starting in 2019/2020, Zehetmair will take over the position as chief conductor at the Stuttgarter Kammerorchester.
Thomas Zehetmair is both a sought-after soloist and conductor among leading international orchestras worldwide. He is also a keen chamber musician and is the founding member of the Zehetmair Quartett, with which he was awarded the Paul Hindemith Prize by the City of Hanau in November 2014 in recognition of outstanding musical achievement.
For his far-reaching artistic contributions, Thomas Zehetmair was awarded, among others, the certificate of honour by the Preis der Deutschen Schallplattenkritik as well as the Karl Böhm Interpretation Prize by the federated state of Styria. Thomas Zehetmair is an honorary doctor at the University of Music Franz Liszt in Weimar and Newcastle University
Video & Audio
19:30 02 Nov 2018 Sage One, GATESHEAD More info
HENRY PURCELL ARR. BRITTEN Chacony
PURCELL ARR STOKOWSKI Dido’s Lament
BENJAMIN BRITTEN Double Concerto for violin and viola in B minor
RALPH VAUGHAN WILLIAMS Fantasia on Greensleeves
EDWARD ELGAR Sospiri, Op. 70
FRANZ JOSEPH HAYDN Symphony No.92 in G ‘Oxford’
Conductor and violin: Thomas Zehetmair
orchestra: Royal Northern Sinfonia
Viola: Ruth Killius
From The Green Room
“A virtuoso technique married to a musical mind that won’t take anything for granted. Zehetmair seems to find answers where other musicians don’t even see questions …” Andrew McGregor, BBC Radio 3
18 Mar 16 SCHUMANN Violin Concerto, Symphony No. 1 & Phantasie CD with Orchestre de chambre de Paris
“Schumann’s Violin Concerto has a tricky history. It was composed in 1853 but deemed so weird at the time that it wasn’t performed until 1937, when it was hijacked for Nazi propaganda. Nowadays, advocates such as Thomas Zehetmair give the troubled and soulful piece the love it deserves. He first recorded it for Teldec in 1988 and recently helped prepare a new urtext edition – sorting out centuries of editorial meddling. His new account is warmer, more declamatory, more openly glorious in lyrical passages.”
Kate Molleson, The Guardian, 24 March 2016
17 May 13 St Paul Chamber Orchestra Wayzata Community Church, Wayzata
“In the orchestral opening, a cascade of ravishing melodies, Zehetmair and Killius played as members of the ensemble, their backs to the audience, until they turned around and dazzled… Zehetmair conducted with obvious affection for this music and he weaved the symphony into a delicious confection.”
Star Tribune, 18 May 2013
01 Apr 12 Concert April 2012 St Paul Chamber Orchestra
“Under Zehetmair, the orchestra sounded at its best, playing with precision and passion, rising to a mighty apotheosis in the finale.”
Mineapolis Star Tribune, 6 April 2012
01 Mar 12 Concert April 2012 Northern Sinfonia. The Sage Gateshead.
“it was a true celebration of both Zehetmair’s instinctive understanding of Schubert, and the intimate and creative energies that he has kindled within the ensemble…the opening movement was played out with a hushed and sustained reticence, as though each player were confiding one with the other, with their conductor, and with us”.
The Times, 29 April 2012
01 Dec 11 Concert December 2011 Northern Sinfonia. The Sage Gateshead.
“Zehetmair’s approach to Schubert’s Third is infused with wonder…The details are dazzling, violas and second violins giddy in the teeth-chattering quavers of the last Allegro, the intelligence and wit of the cello section captivating throughout.”
The Independent on Sunday, 11 December 2011.
01 Jul 11 Concert June 2011 St Paul Chamber Orchestra
“An overdue concerto performance came on a gripping, haunting work by Karl Amadeus Hartmann, a 20th-century German composer who packed much of his sadness and anger at the Nazi government into his “Concerto funebre.” It proved a tour de force for Zehetmair, especially during an aggressive, panic-laden third movement and a closing Chorale that sang out like the saddest soprano aria that you’ve ever heard in an opera house.”
Rob Hubbard, Pioneer Press, 15 June 2011.
01 Jun 11 HARTMANN Concerto Funèbre St Paul Chamber Orchestra
“Artistic Partner Thomas Zehetmair conducted with passion, driving the music dramatically, creating a sense of devastation and mourning in the orchestra’s dissonances. As soloist, he made the most of the violin’s anguished utterances in his raw, uninhibited playing.”
William Randall Beard, Star Tribune, June 10, 2011.