Beethoven violin concerto at the Sunriver Music Festival
Elgar Violin concert in Winston Salem Oregon
October 16th & 18th
Bruch violin concerto No 2 with the Tucson Symphony
Dvorak violin concerto with the Phoenix Symphony
Violinist Steven Moeckel’s effortless virtuosity, vivid characterization and uncanny ability to capture the very essence of a work have been hailed by critics worldwide. As concerto soloist, recitalist and chamber musician, his ability to engage audiences in an astounding range of repertoire distinguishes him as one of the most versatile young musicians of today.
A seasoned performer since childhood, Moeckel began his career as a violinist in the United States, and then, from the age of eleven, toured as principal soprano soloist of the renowned Vienna Boys Choir. Resuming his violin studies, he graduated with honors from the Mozarteum in Salzburg at the age of nineteen and immediately assumed the position of Co-Concertmaster of Germany’s Ulm Philharmonic. Since his return to the United States, Moeckel has continued to combine a career as concertmaster with that of soloist and chamber artist.
He has performed with Leon Fleisher and Menachem Pressler at Chicago’s Ravinia Festival and frequently appears in concert with William Wolfram. He is a much sought after concerto soloist, his repertoire encompassing everything from the standard classical and romantic masterpieces to the visceral virtuosity of the Shostakovich Concerto and Corigliano’s Red Violin. Invited to China under the auspices of the newly formed Ling Tung Foundation, he was the first Western violinist to perform the beloved violin concerto, The Butterfly Lovers, with a Chinese orchestra. At home in a myriad of styles, with pianist Paula Fan he performed a 12 hour marathon charity concert featuring masterworks of the classical literature interspersed with intermezzi featuring country, tango and jazz.
Currently concertmaster of the Phoenix Symphony Orchestra, Steven Moeckel performs on a violin crafted c. 1840 by the celebrated French maker, Jean-Baptiste Vuillaume.
ABOUT THE VIOLIN
It is truly a joy to find an instrument which so uniquely fits my personality. The dark sound of a French violin has always suited me and the tonal power found in the violins of French makers allows me to produce a wide variety of expressive colors. This violin in particular has an outstanding capacity for projection, which is especially important when playing in halls with poor acoustics. It seems to “sing” easily no matter what demands I place upon it and often feels as though it responds intuitively when I am playing it.
This instrument was bought with the generous assistance of many philanthropic people in Tucson, Arizona. In 2006, I stumbled across this violin at an unexpected time and without the funds to purchase it. These benefactors understood my need and generously came together to invest in my career through the purchase of the violin. I will always be grateful to them and their outpouring of support continues to inspire me on a daily basis. For all of us in the Arts, these are the people that give us the opportunity to do what we love and we can only hope that we can give something back through our music.
For more information on the violin maker Nicolas Lupot, please visit the Antonio Strad Violin Gallery.
Elgar Violin Concerto
Reviewed Friday, Nov. 25, at Symphony Hall, Phoenix
Violinist Steven Moeckel played the Elgar Violin Concerto this week. It is a concerto he was born to play, and, as the sports announcers like to say, he left it all out on the field.
It was clear that this wasn’t merely a case of a soloist signed to play with an orchestra, learning a concerto and performing it; this was an artist who has longed to play the vast, 50-minute work since he was a young man, and he now gets a chance not merely to play it, but to descend into it, live it, and turn it inside out, searching every corner for meaning and — dare we say it? — beauty. Sheer physical beauty.
Phoenix Symphony soloist knocks it out of the park
by Richard Nilsen – Mar. 25, 2011
The Arizona Republic
Sometimes it only takes a single piece of music in a concert program to make the whole thing memorable. Sometimes, even just one movement can make it all worthwhile.
This week, Phoenix Symphony concertmaster Steven Moeckel played solo and conducted Mozart’s “Haffner Serenade,” K. 250, and played with such delicacy, taste and musicality, that it completely outweighed the more pedestrian portions of the program. It was especially in the Andante of the serenade that his astonishing music making came through, including an especially beautiful cadenza, double-stops and all. It was as close to perfect as this life allows.
2005 Sibelius International Violin Competition
“German-American Steven Moeckel played Sibelius’ Humoresques easily, which made an emotional impact on the audience; here is a real ‘Sibelian’. Moeckel is able to play all the violin’s frolics of the Humoresques with facility and he also understands Sibelius’ sense of humor.”
Bach a-minor, e-major
Beethoven Triple Concerto
Brahms (double concerto)
Bruch No.3 g-minor
Corigliano “The Red Violin”
He/Chen Butterfly Lovers
Lalo Symphonie Espagnole
Mendelssohn e-minor, d-minor (double concerto)
Mozart No’s. 1,3,4 and 5 and Sinfonia Concertante
Shostakovich Concerto No.1
Vaughan Williams-The Lark Ascending
Pianist Paula Fan has performed on five continents, recorded more than twenty five commercial albums, and has broadcast for the BBC, NPR, Radio Television China, and international stations from Bosnia to Australia. As one of the first recipients of the doctorate in Collaborative Piano, she has lectured on the subject worldwide. She performed and taught at the University of Arizona Fred Fox School of Music as its only Regents’ Professor, and was Principal Keyboardist and soloist with the Tucson Symphony for many seasons. She has also served as Visiting Professor at the Eastman School of Music, and at numerous conservatories in the People’s Republic of China, where she was the first ever accompanist-coach invited by the Chinese Ministry of Culture. As both performer and teacher, one of her greatest interests has been building bridges between classical music and audiences of all ages and backgrounds, as well as between disciplines.