“He is a pianist of strong, brisk fingers and penetrating mind whose technique is formidable enough to make light of whatever difficulties Chopin’s music throws in his way. ...his sparkling treatment of the Waltz in A-flat, Opus 42 was the real thing.” (Chicago Tribune)

“The compelling shaping of Ravel’s Une barque sur l'Océan convinced as much as the effective Variations by Hans Werner Henze and the brilliant virtuosity in the Sérénade de Don Juan by Karol Szymanowski.” (Der Tagesspiegel, Berlin)

“He made the piano notes whisper, twinkle, roar, and dance; musical phrases rippled and capered, caressed and cajoled.” (Rock River Times, Rockford/ IL)

“No doubt the award-winning pianist has technique to burn and throughout his performance one felt that he had a clear understanding of how the work should unfold. Gross delivered the first movement cadenza wonderfully--it was tender, rich and filled with color. With assistance from Tchivzhel and the orchestra, this beautiful composition became a living, breathing work of art.” (Greenville News, Beethoven Concerto No. 4)

“Gross...gave a wonderful performance of the piano part in the “Rhapsody.” With fleet-fingered aplomb, he skimmed his way through the virtuoso fireworks of this bravura work. But he also gave a lyrically heartfelt interpretation to the lovely 18th variation, which one might call the composer’s passport to immortality. ...Steven Larsen and the symphony, especially the strings, kept up lively interplay with pianist Gross, and the final pianistic fireworks, with a last climactic ‘Dies Irae’ brought the audience to their feet in appreciation. It was a riveting evening.” (The News-Gazette, Champaign-Urbana/ IL, Rachmaninoff Paganini-Rhapsody)

“The young artist presented the audience with a light-fingered, inspired, and sweeping Mozart. An interpretation with mind and heart.” (Berliner Morgenpost, Potsdam; Mozart Concerto K 271)

“His warm touch and sensitive, sparkling transparency served Mozart’s work in an inspiring manner.” (Potsdamer Neueste Nachrichten, Potsdam; Mozart Concerto K 271)

“Boisterously, vigorously, and with relish he dashes through the three movements. His sound is clear, willowy, and brilliant, and in the outer movements of a percussive insistence that evokes the rhythms of folk dances. The lyrical andante movement he shapes as an impressionistically shimmering nocturne.” (Potsdamer Neueste Nachrichten, Potsdam; Szymanowski Sinfonia Concertante)

“It is owing to the engaging and pithy interpretations that this is a fun listening experience.” (Fono-Forum; Lalo Piano Concerto)

“Pianist David Gross excelled in his dynamic yet fluid mastery of the keyboard as he began the work.” (Rockford Register Star, Beethoven Choral Fantasie)

“The various parts of Ravel’s Miroirs gave the pianist the opportunity to demonstrate his perfect control of sound. His colorful playing made these impressionistic pieces all but visible. The piano was quasi transformed into a harp or a glockenspiel.” (Nordsee-Zeitung, Bremerhaven)

“Gross gave a beautiful account of the melancholy work. An intuitive player, he brought out the drama, the intimacy, the tenderness and the bravura Schumann entrusted to the piece. The soloist’s dream-like exchanges with the talented wind players in the first movement Allegro Affettuoso, laid bare tender emotions, while his virtuosic cadenza’s passionate trills and soft arpeggios were impressive translations of the Romantic language. ...The punch and power of the final movement Allegro Vivace, as well as the complete performance was highly reflective of what Gross had said previously, about being attracted ‘since my early youth to this work.’” (Greenville News, Schumann Concerto)

“The feature work of the evening was Brahms' Piano Concerto No. 2 played by guest artist David Gross. His opening strains were fluid and lyrical. Throughout the work Gross commanded a wide dynamic range, at times light and airy and at other times thunderously vibrant. The third movement has a significant cello solo poignantly delivered by principal cellist, Barbara Altman. The expressive sonority of this beautifully bowed solo is impossible to match on an instrument that is struck, but Gross was able to deliver an incredibly dulcet tone that gently emerged as if from the cello’s embrace, gradually transforming into the more percussive character of the piano’s nature. Demanded by the audience to give an encore, Gross chose the perfect counterfoil to the lush fullness of the Brahms Piano Concerto. By playing Brahms’ Waltz in A flat, Op. 39, he provided a dreamy sigh as a postscript to this most appreciated break from the stressors of current events.” (The Telegraph, Macon/ GA, Brahms Concerto No. 2)

Photo Credit: Thorsten Eichhorst