Borletti-Buitoni Trust
BBT Artists Rewarding Musical Excellence
Shai Wosner
BBT Award 2005

Shai Wosner - Press

BBT Project: Michael Hersch Piano Concerto Along the Ravines, commissioned for Shai Wosner by Borletti-Buitoni Trust

“magnificent performance… profoundly rewarding and no end [sic] fascinating.”
Bernard Jacobson, Seen and Heard International 22 May 2012

“Based on poetry by Zbigniew Herbert, this piece for piano and orchestra paired well with Bluebeard’s Castle, sharing the opera’s emotional intensity and overwhelming sense of foreboding.”
Dana Wen, The Sun Break 17 May 2012

BBT Project: Brahms Schoenberg CD on Onyx Classics

“His fingers are at the service of a keen musical mind and deep musical soul. He’s downright thrilling in recital. So if you have the chance to see him, take it. You’ll witness a young artist at the beginning of his career, who — decades down the line — will be spoken of as one of the greats.”
National Public Radio, USA 30 December 2010

“…this is pianism of the very highest order, involving and full-blooded, with such burnished passion from Wosner…an extraordinary demonstration of the delicacy and subtlety of Wosner’s artistry. In short, a fascinating disc: this is a pianist to watch.”
Nicholas Salwey, International Piano Magazine October 2010

“The links between these giants come through compellingly on the new recording of works by Brahms and Schoenberg by the excellent Israeli-born pianist Shai Wosner.   He plays the Schoenberg suite with crispness and clarity. The Gavotte and the Musette dance and swing with appropriate Baroque energy…Yet Mr Wosner also captures the modernist daring and wildness of the music. When the music turns restless, he plays with infectious spontaneity, adjusting tempos at will. He also gives a joyous, technically assured account of Brahms’s exhilarating Handel Variations… This is an inventively conceived and impressive recording.”
Anthony Tommasini, The New York Times 10 October 2010

“This is a genuinely imaginative pairing of two composers who have more in common than their popular images might suggest… The sequence works well, and Wosner’s understated playing suits it perfectly.”
Andrew Clements The Guardian 27 August 2010