Described as “superb” by The New York Times, violinist Tai Murray is establishing herself a musical voice of a generation.
Appreciated for her elegance and effortless ability, Murray creates a special bond with listeners through her mature phrasing and subtle sweetness. Her programming reveals musical intelligence. Her sound, sophisticated bowing and choice of vibrato remind us of her musical background and influences, principally, Yuval Yaron (a student of Gingold & Heifetz) and Franco Gulli. Winner of an Avery Fisher Career Grant in 2004, Tai Murray was named a BBC New Generation Artist (2008 through 2010).
TAI MURRAY GIVES PREMIERE OF MALCOLM HAYES’S VIOLIN CONCERTO
Such a piece depends on the commitment of its soloist for ensuring a successful realisation, and Tai Murray (playing from memory) had the measure of the often stratospheric writing where flawless intonation is a necessity.
– Richard Whitehouse, www.classicalsource.com, 15 August 2016
PROM 35: MALCOLM HAYES’ VIOLIN CONCERTO FORMS COMPELLING CENTREPIECE
Soloist Tai Murray (a former BBC Radio 3 New Generation Artist) gave a persuasive rendition, bringing to its near-ceaseless flow a real sense of commitment, poise and flawless intonation.
– David Truslove, bachtrack.com, 13 August 2016
SAMUEL BARBER’S VIOLIN CONCERTO WITH THE ROYAL LIVERPOOL PHILHARMONIC ORCHESTRA
Murray has appeared with the RLPO before, as a last-minute replacement for an injured Vadim Repin two years ago. She shone then, and she shone again here.
The violinist, who made her debut with the Chicago Symphony Orchestra at the age of nine, has a warm, expressive style and ekes an incredibly sweet tone from even the highest registers of her instrument.
[…] Murray’s lustrous playing in the opening allegro was subtly framed by the Phil, while the andante second movement was sensitively and soulfully realised – so much so you could hear a pin drop in the hall. And sweets being unwrapped 15 feet away. As for the presto finale? Murray made it look effortless, head up and eyes fixed somewhere ahead of her as her bow whipped across the strings, the orchestra pacing along beside her, and later joining the audience to applaud her back on to the stage.
– Catherine Jones, 7 April 2016, Liverpool Echo
… the last-minute substitution of American-born former BBC Young Generation artist Tai Murray, missed none of the subtlety required for the concerto’s earlier gently undulating, mainly high-pitched “singing” motifs, purposefully backed only by other strings, so as not to be overwhelming and detract from the generally dreamy timbre.
Altogether a sensitive tread through some very fine tracery of a kind perhaps too rarely heard in the usual concerto format which favours panache.
– Joe Riley, 28 February 2014
Le récital de samedi est confié aux mains virtuoses de Tai Murray. L’élégante violoniste de Chiago s’allie au pianiste Ashley Wass pour transformer le Musée d’art et d’histoire de Fribourg en une scène pleine de surprises.
Côté français, on entendra la «Sonate pour violon et piano» de Debussy, dernière œuvre majeure de son catalogue, et deux de ses poésies, «Clair de lune» et «La fille aux cheveux de lin». Côté Amérique, le contraste sera de mise entre Corigliano et Carter, les deux New-Yorkais que presque tout oppose.
– Benjamin Ilschner, 24 Janvier 2013
Ives - Barber - Gershwin -Bernstein - Herrman
Tai Murray, violin
Jean-François Heisser, conductor
20th Century: The American Scene
Copland - Carter - Cage - Corigliano
Tai Murray, violin
Ashley Wass, piano
Six Sonatas for violin solo, Op. 27
Harmonia Mundi (2012)