Franziska Huhn


Boston Musical Intelligencer

The performance morphed into Lou Harrison’s early Suite for cello and
harp, as haunting textured and birdcalls were replaced by soft,
pulsing modalities and repetitive cello lines. The Suite is hardly
representative of what we generally expect to hear from one of
Harrison’s pieces: it uses neither alternative tuning systems nor
traditional Javanese instruments. The simplicity and objectivity of
the piece was immaculately captured by harpist Franzisca Huhn and
cellist Benjamin Schwartz, as the cyclic piece contained itself within
bookends of the poetic Chorale.


Cottbuser Rundschau, Cottbus, Germany, 1 June 1999:
„Ein ‚Wirbelwind' virtuosen Könnens“ und „ein Ohrenschmaus vom Feinsten“.
„Whirlwind of Virtuoso Capability” and „a musical treat of the highest quality”

Avari Highlights, Lahore, Pakistan, 4 March 2000:
„Franziska Huhn enthralled music lovers with her brilliant virtuosity on the harp”.
„Franziska Huhn begeisterte die Musikliebhaber mit ihrer brillanten Virtuosität auf der Harfe.“

Frankfurter Allgemeine Zeitung, Germany, 10 November 2001:
„Harfe virtuos” („harp virtuoso”)

The Boston Globe, Boston, 31 January 2008:
,They speak Berio's language' .. [ « Sequenza II »]  for harp… in Franziska Huhn's   technically accomplished, superbly paced performance… (The perfomance  was  terrific, wide-awake and strinkingly entertaining.)
‚Sie sprechen Berios Sprache'…[„Sequenza II"]  für Harfe… in Franziska Huhns technisch vollkommenen,  hervorragend gespielter Darbietung ....


CD Kritik

Fanfare Magazine / William Zagorski / 2010
BEJEWELED ENCORE GEMS FOR FLUTE AND HARP Julie Scolnik (fl); Franzisca Huhn (hp)
© JULIE SCOLNIK & FRANZISCA HUHN 7 00261 27363 1 (62:07)

In the days of my youth the world was a lot simpler. If one thought violin, there was Jascha Heifetz; if one thought cello, there was Pablo Casals; if one thought guitar, there was Andrés Segovia; if one thought flute, there was Jean-Pierre Rampal, and so it likewise went through the world of conductors and string quartets. There was virtually a single brand-name artist or ensemble who or which, in the words of their marketers, represented the ultimate. The implication was that perfection was here. Others need not apply. Over the course of the 55 or so years that I’ve been a gluttonous consumer of recorded music, its universe, thankfully, has become increasingly populated by other worthy practitioners who offer fresh and illuminating perspectives in music we thought we knew. This exquisite compilation of encore pieces also underscores a point I’ve made many times over the years in these pages—the overall level of musicianship of our current younger players, technically and interpretively, is astonishing.
This release offers a synergistic mix of the familiar with the comparatively lesser known. Lowell Liebermann’s Five Pieces from Album for the Young, Gary Schocker’s (a fine flutist himself) In Memoriam, John Williams’ Memoirs of a Geisha, and Francesca Maria Veracini’s Largo fit into that latter category, and deserve to be heard. All of this music is distinguished by lyrical beauty, textural transparency, and grace.
Rampal, Galway, and, most recently, Stallman, have set the bar very high. In light of this distinguished company, Julie Scolnik acquits herself well indeed. Her tone is voluptuous in its low registers and pellucid at the top of its compass. She also has the ability to vary it, smoothly and effortlessly, on a single sustained note or in the case of a passage as the music requires. Her sound alone, even if she were applying it to mere scales and arpeggios, would stop one in one’s tracks. Add to this that it is guided by a fine musical intelligence made manifest in her convincingly natural phrasing and her ability to tease out the ethnic flavors and fragrances of much of this music, and one has the recipe for a pleasurable and satisfying musical repast.
Both Scolnik and Huhn are fine all around musicians as evidenced not merely by their hand in glove performances, but by their skills in the venerable art of transcription as well. In all cases, the music seems as if expressly written for the flute and harp.
The sound of this offering is sweet, airy, and detailed—all inducements for me to return to this disc again and again for the sheer pleasure of it.