C.P.E. Bach: Sonata in G major
for harp solo (Wq.139)
Allegro

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Press Reviews

From the beginning, the harpist handled her instrument with ease: elegance, transparent melodic lines, polished dynamics...
(Frankfurter Allgemeine)

M.A. Süß played the perfectly structured Fantasie by Louis Spohr not only with sovereign expertise but also with delightful grace. She avoided virtuoso clichés; pure artistry spoke through the three impressive movements of the Hindemith Sonata, which M.A. Süß moulded with the greatest care and most intimate devotion. It was poetry in sound!
(Süddeutsche Zeitung)

M.A Süß presented herself as a subtle and precise soloist, with a good instinct for effects and a sense of the structure and transformations of romantic-impressionistic moods. Her impressive grasp of the music was convincing…
(Norddeutsche Zeitung)

The listener was soon under the spell of the harpist’s magical playing. Not only the varied sound world but also the visual charms were thoroughly enjoyable, beautiful her delicate fashioning of the various sections and her adaptable sound...
(Hannoversche Allgemeine)

M.A. Süß proved to be a spirited but always masterly performer on the harp, drawing an extraordinary number of colours and dynamic nuances from her instrument. In addition she displayed striking musical creativity, noticeable in changes of tempo, structural tautness and a precise finger technique with skilful damping. As well as her considerable virtuosity, the energy and precision, the sense of tone and the sensitivity of her performance were exceptionally captivating...
(Wiesbadener Tagblatt)

Margit-Anna Süß – as sweet as her name – elicits sounds again and again from her harp that are often missing in run-of-the-mill concerts and her phrasing is so utterly musical, that it is a pleasure to listen to her.
(Stuttgarter Nachrichten)

Winning five for Mozart

A red carpet was laid out for Mozart in the Ludwigsburg Forum, weaved out of sound on a single evening. The violinist Anne-Sophie Mutter was partly responsible, as were W. Gönnenwein and the Festival Orchestra, but certainly also the harpist Margit-Anna Süß and the flautist Robert Dohn. They were the winning five for Mozart... The harpist’s playing led to unusual and unexpected nuances in the tension between the two solo instruments, clearly distancing itself from a merely agreeable cantabile and routine playing.
(Esslinger Zeitung)

Apart from their technical perfection, her interpretations were above all convincing through their unusually mature musicality. The abrupt changes of mood in A. Caplets Divertissements were as thrillingly successful as the heartfelt portrayal of melancholy in the last movement of the Hindemith Sonata, a lament...
(Hannoversche Allgemeine)

The bravura of harpist M.-A. Süß seemed to lie in the nuances, in the subtle interplay of colours and in her command of discreetly placed effects. Highly virtuosic “pieces”, subtly and tastefully plucked “gallanteries” gave the soloist the opportunity to unfold the richness of her playing. M.-A. Süß fascinated with delightful harmonic and étouffée techniques as well as the pronounced emphasis she placed on the composer’s strong dynamic contrasts.
(Nürnberger Zeitung)

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