Some kind words from the critics, in chronological order. I’m actually delighted that so many of these quotes involve another musician as well – collaboration and communication is, after all, what this is all about!
…a powerfully emotional solo from Sarah Darling. (Harvard Crimson, spring 99)
“The American Sarah Darling filled the Prelude with spacious melodic gesture, and drew from her viola an intensive, sometimes expressively raw, realm of color.” (Badisches Tagblatt, 7/22/05)
…powerful, intensive, with absolute concentration and astonishing precision. (Badischer Zeitung, 6/06)
The first movement of the Sixth — with violists Karina Fox and Sarah Darling intricately interweaving melodies… was a truly enchanting extended moment. (David Bratman, San Francisco Classical Voice, 7/24/08)
Sarah Darling and Jeffrey Grossman perform ably and with dedication; and the sound is good. (Jens Laurson, WETA 90.9 FM, 3/12/09)
…superb, with a great deal of character and rock-solid accuracy. (Thomas Abbott, Living Music Journal, spring 09)
…skillful and obviously authoritative. (Allen Gimbel, American Record Guide, 5/09)
Some of the most engaging chamber music playing came from the well-matched violins of Sarah Darling and Laura Gulley… (Early Music America, 6/09)
…there were excellent solos from violinists Christina Day Martinson and Sarah Darling. (David Weiniger, Boston Globe, 2/22/10)
Cellist Rafael Popper-Keizer and violist Sarah Darling really had the best ideas. They found emotion and shape in this powerful novel-like work of Brahms. (David Patterson, Boston Musical Intelligencer, 3/14/10)
We especially noticed with approbation Ms. Darling’s agility in coaxing a variety of grunts, groans and creaks from the viola. (Vance Koven, BMint, 3/22/10)
The performances by Irons and Darling were absolutely amazing, with playfulness and complete unity of sound in spite of presenting two different parts. …their unbelievably fine performance and sensitivity to each other… (Mary Wallace Davidson, BMint, 10/24/10)
Witty interplay with Ms. Darling’s violin in the second movement made for some elated Baroque-era jazz. (M. Figg, “Aesthetic, not Anaesthetic” 11/23/10)
…solo violist Sarah Darling’s performance was focused, nuanced and arresting. (David Dominique, BMint, 12/6/10)
…a particularly moving solo by violinist Sarah Darling. (Joel Schwindt, BMint, 12/19/10)
…violinists Sarah Darling and “guest star” Jesse Irons, who played with remarkable sympathy and spirit. (Thomas Garvey, Hub Review, 12/22/10)
…the remarkable tone and security of violist Darling at the highest reaches of her instrument. (Vance Koven, BMint, 1/16/11)
The affective power of this solidly Baroque aesthetic was particularly brought to bear by the beautiful playing of Darling and Stumpf in the work’s largo, a true high point of the program. (Tom Schnauber, BMint, 1/31/11)
Darling’s rich viola provided further textural contrast that never obstructed ensemble blend. (Andrew Sammut, BMint, 6/3/11)