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Photo by Andrej Grilc
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VC Live at Kronberg Academy
Amy Beach – Romance
Brahms with Orchestra
Bach Sonata No 2 – Grave

“In her playing tonight, Ioudenitch was the personification of concentrated intensity. She is a decisive, focused and powerful player, and this worked well for her choice of Samuel Barber’s Violin Concerto. There was nothing spare about her playing, nothing self-indulgent; even the lyrical passages retained a kind of blistering intensity, a tautness. The strength in each of her movements lay most of all in the passages of attack and fury and speed, where her intensity was given full rein. The last movement’s perpetuum mobile, in particular, was striking: neat fingerwork, feathery lightness alternating with aggressive power, and all at a dazzling speed, triumphing with that abruptly sudden ending.”

Bachtrack

“To begin his concerto, Barber asks the violinist to coax into flight a lyrical theme that, in a normal concerto, would be preceded by several pages of musical throat-clearing; Ioudenitch made it soar, with a glowing, burnished tone poised between warmth and sadness, perfectly suiting Barber’s mood…Ioudenitch took the third movement, marked Presto in moto perpetuo, at an appropriately blistering pace, successfully giving the impression that she could careen out of control at any moment while remaining in no danger of doing so. Hersh and the orchestra kept up, and the result was four minutes of excitement to counterbalance the preceding ruminations.”

Washington Classical Review

“Projecting a calm, ethereal stage presence for the opening movement, Ioudenitch then threw herself into the scherzo with a commendable degree of attack. What followed was edge-of-the-seat music-making, orchestra and violinist almost daring each other on. It would have been a high point in any concert, but Ioudenitch’s real showstopper was the extended cadenza which opens the burlesque finale. A tour de force that had the audience whooping and hollering for an encore.”

LeftLion

“Ioudenitch demonstrated why she is already making waves: secure intonation, fearless technical virtuosity and expressive richness, her burnished and earthy tone matched by the dark woodiness of the Dresden strings.”

Bachtrack.

Violinist Maria Ioudenitch attracted the attention of music lovers worldwide when she won first prizes at three international violin competitions in 2021 – the Ysaÿe, Tibor Varga, and Joseph Joachim Competitions – as well as numerous special prizes at these competitions, including Joachim’s Chamber Music Prize, the prize for the best interpretation of a commissioned work, and the Henle Urtext Prize. In 2023, she won the Opus Klassik Award in the category “Chamber Music Recording of the Year” for her debut album, Songbird, on Warner Classics.

The young violinist’s innovative programming is reflected in her album Songbird. In her current concerts, she performs violin concertos by Brahms, Barber, Dvořák, and Glazunov, as well as Prokofiev’s first concerto, while in recital programs she presents works by Lili Boulanger and Germaine Tailleferre alongside the well-known violin repertoire.

Highlights of the 2025/26 season include debuts with the ORF Vienna Radio Symphony Orchestra under Marin Alsop, the Royal Danish Opera Orchestra under Marie Jacquot, the Stavanger Symphony Orchestra under Jan Willem de Vriend, and the George Enescu Philharmonic Orchestra under Dennis Russell Davies. She will tour Munich, Vienna, and Ljubljana with the Basel Symphony Orchestra and Markus Poschner. She has also accepted invitations from the Bochum Symphony Orchestra, the Nuremberg State Philharmonic, and the Vienna Chamber Orchestra, and returns to the Sofia Philharmonic Orchestra to perform Dvořák’s Violin Concerto. Maria Ioudenitch also performs extensively in the USA and Canada, including appearances this season with the Baltimore Symphony, Vancouver Symphony and the North Carolina Symphony.

She gives recitals with pianist Roman Borisov at the Brucknerhaus Linz, in Staufen, and at London’s Wigmore Hall. She is a member of the chamber music collective ensemble132, with whom she will release an album of works by Stravinsky and Schumann in early 2026. Her chamber music partners include Inmo Yang, Stephen Waarts, Marie-Elisabeth Hecker, Julian Steckel, and Pablo Barragán.

More recently, she has appeared as a guest soloist with the Frankfurt Radio Symphony Orchestra, the German Symphony Orchestra Berlin at the Berlin Philharmonie, the Leipzig Radio Symphony Orchestra, the Royal Stockholm Philharmonic, the Dresden Philharmonic, the Cincinnati Symphony Orchestra, and the Detroit Symphony Orchestra. She collaborates with conductors such as Andrey Boreyko, Sir Donald Runnicles, Alpesh Chauhan, Marta Gardolińska, Holly Hyun Choe, Jonathan Bloxham, Yi-Chen Lin, Ryan Bancroft, Kevin John Edusei, Stanislav Kochanovsky, Andrew Manze, Robin Ticciati, and Ruth Reinhardt.

Maria grew up in Kansas City and began playing violin at the age of three with Gregory Sandomirsky. She studied with Ben Sayevich at the International Center for Music in Kansas City, with Pamela Frank and Shmuel Ashkenasi at the Curtis Institute of Music, and with Miriam Fried at the New England Conservatory, before completing the Professional Studies Program at the Kronberg Academy with Christian Tetzlaff.

2025-2026