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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.

American-Russian violinist Maria Ioudenitch captured the attention of music lovers worldwide in 2021 when she received first prizes in three international violin competitions – the Ysaÿe, Tibor Varga and Joseph Joachim – as well as numerous special prizes at these competitions, including Joachim’s Chamber Music Award, the prize for 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 the album Songbird. In upcoming concerts, she performs concertos by Beethoven, Barber, Bernstein and Britten as well as Prokofiev’ first violin concerto, while this season’s recital programmes include works by Lili Boulanger and Germaine Tailleferre, alongside standard violin repertoire.

Highlights of the 26/27 season include debuts with the Rundfunk-Sinfonieorchester Berlin under Vladimir Jurowski, the Bruckner Orchestra Linz under Wayne Marshall, and the Orchestre Philharmonique de Strasbourg under Aziz Shokakimov, with whom she will also embark on a tour of England. She will make a guest appearance at the Concertgebouw in Amsterdam with the WDR Symphony Orchestra Cologne and Marie Jacquot. Maria Ioudenitch also performs frequently in the U.S. and Canada; this season, she will appear with the Houston Symphony Orchestra, among others.

She has given 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 releases 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 artist with the ORF Radio Symphony Orchestra Vienna, the Basel Symphony Orchestra, the Frankfurt Radio Symphony Orchestra, the Royal Danish Opera Orchestra, the George Enescu Philharmonic Orchestra, the Royal Stockholm Philharmonic, the Dresden Philharmonic, the Vancouver Symphony Orchestra, and the North Carolina Symphony. She collaborates with conductors such as Marin Alsop, Andrey Boreyko, Donald Runnicles, Alpesh Chauhan, Marta Gardolińska, Holly Hyun Choe, Jonathan Bloxham, Ryan Bancroft, Kevin John Edusei, Axel Kober, Stanislav Kochanovsky, Andrew Manze, Markus Poschner, Robin Ticciati, Ruth Reinhardt, and Jan Willem de Vriend.

Maria grew up in Kansas City and began playing violin with Gregory Sandomirsky at the age of three. She continued her studies 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.

2026-2027