“Subtly and precisely, light-hearted like a girl, that is the way how Tanja Becker-Bender handles her violin, and she won all the sympathies with it. The ginger blond young lady in the salmon gown did not only play two concertos — Mozart’s No. 2 and Bach’s Double Concerto in D minor — but she proved herself generous playing two encores of Paganini and Bach. Tempo and agogics, accurate measure and melodic fluency were finely balanced out to one another.”
— Neue Rheinzeitung Düsseldorf, 18 Dec. 2008, on her performance of Mozart Violin Concerto D Major K. 211 and the Bach Double Concerto D Minor with the Bach Orchestra of the Gewandhaus Leipzig in the Tonhalle Düsseldorf on 17 Dec. 2008
“A very special highlight of the evening was the performance of the young violinist Tanja Becker-Bender with the Violin Concerto E minor op. 64 by Mendelssohn Bartholdy, which made the audience cheer with joy.
Ms. Becker-Bender’s interpretation was characterized by great energy, by joy of vitality and by a clear phrasing. In the first movement, she assigned the theme already in a virtuosic manner, she stood out from the orchestral sound in a nobly sonorous way, yet interconnected her passages with the play of the soloists, the groups and the tutti. With a graceful bow stroke, she developed a consistent suspense up to the final movement. A brilliant commitment of romantic music by Ms. Becker-Bender, whom the audience did not let go without an encore. “
— Münchner Merkur, 25 Oct 2008, Mendelssohn Concerto with the Moravian Philharmonic Orchestra in course of the Icking Concert Cycle on 23 Oct.2008
“Before, Tanja Becker-Bender proved her brilliance already in the Violin Concerto E major BWV 1042 by Johann Sebastian Bach. She fulfils the exuberant drive of the first movement with superior imperturbability, what grows to a real ecstasy of playing and at the same time creates a contrast to the sensitive middle movement. There she finds subdued colours, an internalized version. The Zürich Chamber Orchestra engages into that as well, presenting itself as an excellent ensemble generally.”
— Stuttgarter Zeitung, 23 Oct 2008, about her performance of the Violin Concerto E Major by Bach together with the Zürich Chamber Orchestra in the Liederhalle Stuttgart on 21 Oct 2008
“Centre point of the evening was Tanja Becker-Bender, who has created a furore already earlier on within the Castle Concerts. In the Violin Concerto by Beethoven she drew velvety tones and spirited and colourful sounds from her instrument. With powerful and energetic bow strokes she developed a tingling fascination in the outer movements.
In the inner movement, she evoked a breathtaking atmosphere, she inspired by a full-bodied resonance and maintained the suspense from the first to the last note. The applause before the intermission nearly did not end, and Tanja Becker-Bender thanked the audience for it with the Largo from the Solo Sonata in C major by Bach as an encore. ”
— Frankfurter Neue Presse, 06 Oct. 2008, on Tanja Becker-Bender’s interpretation of the Beethoven Violin Concerto in the Theatre of Bad Homburg on 02 Oct 2008
“Tanja Becker-Bender set highlights in the Concerto for Violin and Orchestra D major op. 61 by Beethoven playing the ‘kettledrum cadenza’ from his piano concerto version of this work, which is rarely heard. At the opening of the concert season in the Bad Homburg theatre, the renowned soloist made her instrument sing with a clear and melodious sound and in a harmonious balance with the Philharmonic Orchestra South Westphalia.”
— Frankfurter Allgemeine Zeitung, 8 October 2008, about Tanja Becker-Bender’s performance of the Beethoven Violin Concerto on 2 October 2008
“Magic sounds with Messiaen
…. Sensational reproduction of the “Quatuor pour la fin du temps” by Olivier Messiaen, a widely solo composition in eight movements.
It is rare that one can hear chamber music performances with such a captivating intensity in tone, magic sound and internalisation.
Piano and both string instruments celebrated the furore from the tonal fit of anger of the seven apocalyptic trumpets with elementary impact. Vanquished by the masterly developed solo doxologies of eternity and immortality of Jesus. Whereas the first canticle, which was carried out precisely and expressively by the violoncello, glowed in widely extended bows and nearly endless sustained notes with a velvety and finely oscillating vibrato. And the second one, performed by the violin, floated away, as it were, in a dematerialised way up to heavenly glittering heights. A wonderful cosmos of music, which was acknowledged by the overwhelmed audience with ovations in the lay brothers’ refectory.”
— Pforzheimer Zeitung, 08 Sept 2008, on the chamber music concert with Bernd Glemser (piano), Tanja Becker-Bender (violin), Claudius Herrmann (violoncello), Dimitri Ashkenazy (clarinet) at the Maulbronn Monastery Concerts (06 Sept 2008)
“The perfect technique of violinist Tanja Becker-Bender fascinate from the first bars on. Although the Concerto for Violin and Wind Orchestra by Kurt Weill was not a light fare — neither for the musicians nor for the audience in the Hubert-Burda-Saal in the Jewish Cultural Center Jakobsplatz.
The internationally renowned virtuoso Tanja Becker-Bender, professor for violin in Saarbrücken since two years ago, demonstrate her abilities not only in the difficult passages, but she virtually lived through the music’s content and at times nearly took the breath of the audience that way.”
— Jüdische Allgemeine (Munich, August 2008) on her performance of the Kurt Weill Violin Concerto with the Orchester Jakobsplatz under the baton of Daniel Grossmann in Munich, 8 July 200
“Tanja Becker-Bender filled with enthusiasm at the Heidelberg Castle Festival (headline)
…the violinist played effortlessly and passionately, with ductile phrasing and natural sweetness in the tone. …with her, the virtuoso character has a playful, an imaginative and poetic quality. Wonderfully tempting and equally delicate as a cobweb, the flageolet sections in two voices sounded, and she made flourish the capricious melodies in an easy and dedicative manner.”
— Rhein-Neckar-Zeitung, 14 July 2008, on her performance with the Heidelberg Philharmonic Orchestra at the Castle Festival on 12 July 2008. Program: J.S. Bach – Violin Concerto E Major, and N. Paganini – “I Palpiti”
Tumultuous times with peaceful conclusion
Tanja Becker-Bender delighted the audience in the town hall
“Young soloist Tanja Becker-Bender fulfils the virtuosic demands generously. She plays the countless complex phrases with an incredible energy, which one would not have expected from the slender violinist in the elegant red evening gown. She makes her fantastic Guarneri instrument sing even in the highest harmonics and in intricate double stops. Conductor and orchestra emphasize the emotional roller coaster ride between crazy fizzing up and warm flowing in best terms with the soloist. Her Paganini encore cannot top Bartók anymore, whereas the deep and internalized “In nominee” (2001) by György Kurtág does it. Hereby, Becker-Bender once more shows the warm tone colour of her instrument in an impressive way, as well as the ability of deep immersion and absorption in music.”
— Westdeutsche Zeitung (18 February 2008) on her performance of Bartók’s Violin Concerto No. 2 with the Wuppertal Symphony Orchestra in the Historical Town Hall of Wuppertal on 17 February 2008 under the baton of Toshiyuki Kamioka.
“After this beginning, Tanja Becker-Bender joins the Leipzig musicians, just as well a corresponding guest as one who sets her own accents. Some years ago, the now twenty-nine-year old violinist could be heard as a guest of the Schleswig Holstein Music Festival, at the masters’ concert series here, her process of maturation is to be seen in an impressive way: The virtuoso, recently appointed professor at the University of Music in Saarbrücken, dares to shape contours in the Mozart Violin Concerto D major K. 211 in an extraordinarily distinct way and gets many spicy nuances out of this pleasing piece. This Mozart sounds refreshing, surprising and sensitive. Becker-Bender thanks the audience and the orchestra for the insistent appreciation with the Capriccio No. 9 E major by Niccolà Paganini: And where it usually tends to smell of sulphur, one rather believes to listen to the music of angels now.
After the intermission, the Concerto for Violin, Oboe and Orchestra C minor BWV 1060 by Johann Sebastian Bach offers an appropriate continuation, in which Becker-Bender enters a conversation with Ralf Schippmann. And that turns out to be so coherent and is supported so naturally by the orchestra that one can only agree measure by measure and abandon oneself to the wonderful balance which characterizes the ensemble playing. Once more, great ovations for a fascinating soloist.”
– Kieler Nachrichten, 19 Dec 2007, on her performance with the Bach Orchestra of the Gewandhaus Leipzig on 17 Dec 2007 in the Castle of Kiel (Germany).
„Tanja Becker-Bender is an ideal Mozart player. Her tone is svelte, yet intense and full of melos – a violinist who is capable of singing through her instrument and makes the listener forget that there are such things as legati and bow changes.“
— Frankfurter Allgemeine Zeitung, Harald Budweg, 25 July 2006, on her performance of W.A. Mozart Violin Concerto A Major K. 219, Weilburger Schlosskonzerte, 23 July 2006
„Tanja Becker-Bender succeeded in enthralling the listeners with utterly intimate vibrato cantilenas, particularly in the tender second movement.”
“The ninth Caprice by Paganini [encore], rich in double stops, convinced through natural playing, in which one would hardly think of the extreme difficulties of such pieces. This soloist can stand up to the greatest violinists of all!”
— Heilbronner Stimme, 19 May 2006, on her performance of Mendelssohn Violin Concerto D Minor with the Württembergisches Kammerorchester, Heilbronn, 17 May 2006
“Even more breathtaking however was Tanja Becker-Bender’s playing: from the double trills, the triple- and quadruple-stops, the permanent third- and octave chains as well as unimaginable runs and leaps, passing by the horn and flute sounds to be imitated (No. 9) in a playful tone, to the organ or choral setting (No. 11) – technically and musically perfect.”
— Frankfurter Allgemeine Zeitung, 12 May 2006, G. Holze, on her performance of the 24 Caprices by Niccolò Paganini with the piano accompaniment of Robert Schumann at the Chamber Music Festival Bad Homburg, 3 May 2006
The world-premiere of the Patrarca Quartett, which was heard in Bad Homburg, could right away be counted as a highlight of the Festival. As a symbol of the equality of the voices, displayed in perfection, three Counterpoints from Bach’s „Art of the Fugue“ BWV 1080 stood at the beginning. For this, Tanja Becker-Bender, Wojciech Garbowski, excellently matching her as second violinist, violist Andreas Willwohl and cellist Damien Ventula made the complex polyphony of themes ideally transparent and intoned precisely according to the historic performance practice.
They gave an equally convincing stylistic sample with Mozart’s String Quartet No. 14 G major K. 387: with ease and and classical evenness, with identical phrasing, playful in the frequent chromaticism and the often called-for piano-forte-contrasts, at times changing on every note. Luciano Berio’s episodic “Glosse” [gloss] for String Quartet from 1997 gave an example of an interpretation of New Music rich in profile and very flexible in sound, thrilling in the extended pizzicato sections.
The Petrarca Quartett turned its program, covering four epoques in an equally strong way, into the romantic subjective character playing Robert Schumann, to whom the Festival was dedicated on the occasion of the commemoration of the 150th year after his death. His String Quartet No. 3 A major op. 41 No. 3 was strikingly interpreted in the delightful lilting melodies as well as in the biting attacks or the strict counterpoint and the relentless forward drive of the Finale.”
— Frankfurter Allgemeine Zeitung, 12 May 2006, G. Holze, on the Debut Concert of the Petrarca Quartett at the Chamber Musci Festival Bad Homburg, 30 April 2006
“The program began with counterpoints from Bach’s “Art of The Fugue”, fascinatingly played by the Quartet in strict baroque tradition, then proceded to the String Quartet G major K. 387 by Mozart in such an enthralling way that the knowledgeable audience applauded in a rhythmic way already before intermission.
After intermission Luciano Berio’s “Glosse” for String Quartet was heard, a work which demands all refined techniques of modern qartet playing of the performers. Also here, first violinist Tanja Becker-Bender showed her secure qualities of leading, without ever taking on a dominant position.”
— Frankfurter Rundschau, 5 May.2006, Klaus Füller, on the Debut Concert of the Petrarca Quartett at the Chamber Music Festival Bad Homburg, 30 April 2006
“At its first public appearance, the young Petrarca Quartet enthralled the audience with a breathtaking concert.
Fully involved also physically and with dedicated music making, the quartet revealed what the multiple fugue of the Salzburgean Master [Mozart] is: Music that is fun to listen to as well as to perform. — …. seemingly neverending applause.”
— Frankfurter Neue Presse, 2 May 2006, G. Stolte, on the first public performance of the Petrarca Quartett at the Chamber Music Festival Bad Homburg, 30 April 2006
“An Evening of Extraordinary Class
With modern compositions and a world premiere, violinist Tanja Becker-Bender and pianist Oliver Kern enchanted their audience in the Stadthaus
‘It were necessary to get oneself used to this kind of music’ was said at the beginning of the concert. However what was presented subsequently was musically so convincing that even untrained ears could not escape the magics of contemporary music. – Karl Amadeus Hartmann’s Sonata for Solo Violin No. 2 stood at the beginning. Tanja Becker-Bender penetrated its sorrowful pensivity(?) with such great musical sensitivity that one literally forgot that one was listening to “vermeintlich gewöhnungsbedürftig” music by a composer of modern times. – No less convincing the premiere of “Fetische III” by Daniel N. Seel, born in 1970 and also present in the Stadthaus. Characteristic was the measuring of the depth of the instruments’ possibilities, the varied sound effects full of compositional refinement, torn between schemes of melodies and voluminous staccato sounds…”
— Südwest Presse Ulm, 14 March 2006, Olivia Schmid, on her duo recital with pianist Oliver Kern in the chamber music series of the SWR Radio Station in Ulm, 12 March 2006
“Fresh Sounds Played by Tanja Becker-Bender
The middle movement, loaded with energy, was enough reason to listen and be amazed. An important part of this was owed to the young soloist from Stuttgart, Tanja Becker-Bender, internationally successful already for a long time. By now, the artist has developed a style of making music full of highly exciting élan, paired with youthful freshness. Nothing out of control can be found, but instead convincing sound in virtuoso bow strokes.”
— Stuttgarter Nachrichten, 9 April 2005, on her performance of Cristóbal Halffter’s 2nd Violin Concerto under the baton of the composer himself, with the Stuttgart Chamber Orchestra, Stuttgart, Liederhalle, 6 April 2005
“A stellar hour of chamber music… A trio performance that created stroms of enthusiasm with the audience that was knowledgeable of the polyphonic materia, due to its striking lucidity and its artistic value in itself. B-A-C-H appeared as a transcription of “bewundernswert” (admirable), “authentisch” (authentic), “charmant” (charming) and “hinreißend” (captivating). It was the noblest event that has come to the studio stage so far.”
— Thüringer Allgemeine, 28 March 2005, Dr. Ursula Mielke, on the performance of Bach’s Goldberg Variations (string trio transcription by D. Sitkovetsky and the performers); Andreas Willwohl, viola, Dávid Adorján, cello; Bach Festival Thüringen, Erfurt, Theater
“She explores the sound in a breathtakingly sensitive way.”
— Waiblinger Kreiszeitung, 12 March 2005, Matthias Walz, on her duo recital with Oliver Kern in Winnenden, 10 March 2005
“… a masterpiece of superior-thoughtful, at the same time most intensive, musicianship. Whether the almost Gregorian flowing passages in the 2nd or the cascades of sound in the 3rd movement: it was a convincing example of how exceptionally able young musicians captivate an audience with the work of a living, at the time of composition equally young composer (Friedrich Cerha, 2nd Violin Sonata). Two masterpieces of the piano-violin literature were then presented with extreme sensitivity together with astonishing musical maturity. After Schumann’s fanciful-bold Sonata Op. 121, Wolfgang Rihm’s austerely-contoured „antlitz. zeichnung für violine und klavier“ („countenance. drawing for violin and piano“) revealed itself to be convincing — also as a contrast to the fulminant-brilliant Kreutzer Sonata by Beethoven as the ultimate climax. Two internationally already very successful musicians (from the Stuttgart area) who also in Vienna were able to make a strong and lasting impression.
— Österreichische Musikzeitschrift (Austrian Music Journal), January/February 2005 issue, Prof. Dr. Marion Diederichs-Lafite, editor of the OeMZ, on her recital with Oliver Kern at the Musikverein on Oct. 31, 2004
“With Great Devotion
… She played Schumann’s difficult Opus 121 passionately and with great devotion. Above all the spirited second movement and the ever-changing emotions from the third movement seemed to flow effortlessly from the fingers. Together with pianist Oliver Kern she performed Friedrich Cerha’s early Second Violin Sonata in an equally accomplished style: with virtuoso brilliance she articulated the rhythmical accentuation reminiscent of Stravinsky. With Wolfgang Rihm’s „Antlitz. Portrait for violin and piano“ she showed how very much she has made contemporary music her own. Slowly and sinuously she brought together characteristic motifs and iridescent sounds into a richly shaded painting.“
— Die Presse, Vienna, pch, 03 Nov. 2004, on her Duo Recital in the Brahms-Saal of the Musikverein in Vienna
“Sisters in Art
Incontestable assurance, the connection of outward distance and inward ardour melted with her impeccable technique, hailing from an unconditional demand on herself, to as fascinating as intense a meaningfulness; a beguilingly radiant timbre, weightless substance, breathing naturalness and excellent knowledge of style made Bach’s C major Sonata BWV 1005 come to life – gripping and truly concentrated. While sparkling and transparent in moving structures, especially Adagio and Largo arrived at a highly expressive profoundness. Mozart’s Duo for Violin and Viola in B flat major K. 424 [with Ariane Becker-Bender] also turned out extremely rich in colours and nuances, virtuosic in a gallant way – and based on interpretational art of phrasing – with great understanding for Mozart’s idiom.”
— Ausgburger Allgemeine, (skn), 25 October 2004, on the Duo Recital of the sisters Tanja and Ariane Becker-Bender (Violin and Viola) in the Series “Ecclesia Concertante“ — International Chamber Music in St. Peter am Perlach, Augsburg
“Shakespeare of the Instruments
There is no perfection on Earth. But for two stellar hours of chamber music this was forgotten: Tanja Becker-Bender and Oliver Kern brought the Dvorák Cycle of the Beethoven House to its climax with a final concert that was masterfully shaped in every respect. … The violin acted as the Shakespeare of the instruments, capable of utmost comedy and tragedy, at times rough-diamonded like a sailor from an early Hollywood film, at times ethereal and tender like a consumptive English aristocrat lady – and in every moment highly poetic.
— Bonner Rundschau, Niels Rühle, 25 March 2004, Duo Recital „Dvorak and Friends“ in the Beethoven House Bonn, 21 March 2004
This has not happened for many years any more in the “Gallery Concerts”, that the audience celebrated the performing artists with standing ovations! Tanja Becker-Bender and Oliver Kern gave a great impression of their art to make music truly speak, to narrate with sounds. …here wonderful lyrical pastel colors, there earthy sounds full of vitality — an endless melodic line. As a listener, one was almost magically drawn to Tanja Becker-Bender’s bow, from which this intensity seemed to draw its origin.“
— Westfälische Nachrichten Münster, Christoph Schulte i. Walde, 27.01.2004, Duo Recital with pianist Oliver Kern, 25 Jan. 2004
“Guest artist was German violinist Tanja Becker-Bender in Weill’s Concerto for Violin and Wind Orchestra. Becker-Bender played it with considerable flair, slip-sliding into quasi-cabaret mode in its melodic moments, while projecting the visceral excitement of its more agitated ones.”
— The Cincinnati Post, Mary Ellyn Hutton, 21. Nov. 2003, Kurt Weill Violin Concerto with the arc ensemble Cincinnati under the baton of Demetrius Fuller, Contemporary Arts Center Cincinnati, 20 Nov. 2003
„…beautiful sound, musically well-balanced and with superb technique!“
— Frankfurter Allgemeine Zeitung, Harald Budweg, 30 Oct. 2003, Mozart Violin Concerto D major K. 218 with the Dresdner Kapellsolisten under the baton of Helmut Branny, Wiesbaden, 28 Oct. 2003
“A very fortunate change occurred, as the 25-year-old violinist Tanja Becker-Bender stepped in on short notice… Ms. Becker-Bender has a most beautiful, noble sound, with a soft, highly sensitive attack and at the same time verve in her bow technique. She is a violinist who does not fall for the dangers of today’s music business, who cares about music with seriousness and dedication. She will go her way; and this was even expressed in the most fortunate way in the Bruch Concerto, not as urgent a piece compositionally, yet melodically blossoming. In the Adagio the whispered tones sounded so fulfilled as if she was playing for her life. – Performance should always be like that, independent of the quality of the piece.”
— Süddeutsche Zeitung, Reinhard Schulz, 23 October 2003, on her performances of Mendelsohn Concerto E minor and Bruch Concerto G minor with the Munich Symphony Orchestra under Heiko Mathias Förster, 20 Oct. 03 Prinzregententheater Munich, and 22 Oct. 03 Herkulessaal Munich
“A lot of emotion for a sunny Sunday morning – but the composer would have agreed to the approach of violinist Tanja Becker-Bender: Robert Schumann wanted the first movement of his violin sonata A minor op. 105 to be played “With passionate expression”, and it is exactly this tone that Tanja Becker-Bender succeeds to convey in an outstanding manner. She played on her Cremonese violin with warm and full sound in the calm and heartfelt passages. With duo partner Oliver Kern at the piano, the young violinist enchanted her audience in the sold out Schumann-Haus.”
— General-Anzeiger Bonn, Angela Leinen, 13 Oct. 2003, on her recital together with pianist Oliver Kern at the Beethoven Fest Bonn, 12 Oct 2003
“The climax of the evening: the collaboration of the Prague Chamber Orchestra with the young violinist Tanja Becker-Bender, who – partly – played [Mozart’s] Haffner Serenade D major K. 250 together. … Already the opening solo measures of Tanja Becker-Bender are enough to change the atmosphere of the evening. When musicians sit on the edge of their chairs, when they support the soloist with utmost attention and noticeable joy of playing, then that rare moment has arrived that pianist Edwin Fischer once circumscribed with the words “not I am playing, but it is playing”. – The seriousness of the artist also becomes clear as she does not even attempt to stylize the Serenade into a great Violin Concerto. Through most subtle nuances she gives back to Mozart everything he has written in the score; in this breadth and depth, none of the other young violinists of our times can achieve this. The audience first has to awake from its trance-like state and then gives long applause.”
— Frankfurter Rundschau, Klaus K. Füller, 4 August 2003, on her performance of Mozart’s Haffner Serenade with the Prague Chamber Orchestra at the Rheingau Festival on July 31, 2003
“The violinist presented herself in the movements expanded into a Solo Concerto within the Serenade [Mozart’s Haffner Serenade K. 250] with an immaculate sound, secure virtuosic approach and pronounced will to shape. Her final Rondo had a touch of improvisatory freshness .”
— Frankfurter Allgemeine Zeitung, Benedikt Stegemann, 2 August 2003, on her performance of Mozart’s Haffner Serenade with the Prague Chamber Orchestra at the Rheingau Festival on July 31, 2003
“Becker-Bender gave an intensely personal and a very effective performance of the Beethoven concerto. She seemed to want to communicate Beethoven’s message in a quiet, almost private way. … it came as no surprise that the concerto’s slow movement became something special. It had a beautiful, almost dreamy quality to it, and the orchestra matched the soloist’s style very well. The finale was done at a proper fast tempo, but it too had a sense of intimacy rather than simply loudness, flash and dash.
Her Bach solo encore was in the same vein. It turned the 5,000-plus-seat Amphitheater into an intimate recital hall for a few minutes, which is no easy thing to bring off. And it brought the evening to an unconventional but highly satisfying close.”
— The Chautauquan Daily, July 14, 2003; Robert Finn (retired music critic, Cleveland Plain Dealer) on her performance of the Beethoven Violin Concerto on July 12, 2003, at the Chautauqua Institution, with the Chautauqua Symphony Orchestra under the baton of Uriel Segal
“In the solo part Tanja Becker-Bender intoxicated the audience, there are no other words to describe the interpretation of the 25-year-old violinist that was immaculate and fiery in every respect.”
— Generalanzeiger Bonn, 18 Feb. 2003; performance of Korngold Violin Concerto with the Yomiuri Nippon Symphony Orchestra under the baton of Gerd Albrecht, Philharmonie Köln, 16 Feb. 2003
“She brought as much highly developed stylistic sensitivity as technical verve into her performance, as many subtle nuances of cultivated vibrato as energetic vigorousness that one was inclined to overlook the weaknesses of the work itself.”
— Kölner Stadt-Anzeiger, 18 Feb. 2003; performance of Korngold Violin Concerto with the Yomiuri Nippon Symphony Orchestra under the baton of Gerd Albrecht, Philharmonie Köln, 16 Feb. 2003
“One can clearly feel the high intelligence and an apparently universal musicality that penetrate her playing. One will rarely experience the work [Dvorák’s Violin Concerto] as such a dense and manifest weave of solo and orchestral parts. Becker-Bender penetrates even the most romantic phrase with clear disposition, perfect technique, immaculate intonation and beauty of sound that never needs to be forced. … The violinist proved her sensitivity for sound and her understanding for polyphonic structure in her encore, a slow movement from the C major Sonata for violin solo by Johann Sebastian Bach.”
— Frankfurter Rundschau, 18 Feb. 2003; performance of Dvorák Violin Concerto with the Yomiuri Nippon Symphony Orchestra under the baton of Gerd Albrecht, Alte Oper Frankfurt, 15 Feb. 2003
“Ms. Becker-Bender shaped it [Dvorák’s Violin Concerto] with outstanding superiority, lively musicality, beautiful sound and secure technique. She even managed to intensify the depth of her musical feeling with a movement from Bach’s third Solo Sonata.”
— Frankfurter Allgemeine Zeitung, 18 Feb. 2003; performance of Dvorák Violin Concerto with the Yomiuri Nippon Symphony Orchestra under the baton of Gerd Albrecht, Alte Oper Frankfurt, 15 Feb. 2003
“Ms. Becker-Bender’s playing left nothing to be desired: existential seriousness was connected to refined legato culture, beauty of sound, lyric sensitivity and technical refinement. The dense symphonic weave by Brahms was structured by Ms. Becker-Bender in a quasi scenic way: at the end of her solo episodes she lifted her bow with both elegance and energy, beyond all virtuosity one could testify a highly intense and exciting musical happening.”
— Nuernberger Zeitung, 3 Dec. 2002; performance of Brahms Violin Concerto with the Philharmonic Orchestra “Georges Enescu” of Bucharest under the baton of Cristian Mandeal, Meistersingerhalle Nürnberg, 1 Dec. 2002