[at the Erlöserkirche in Harleshausen]. He ennobled Carl Stamitz’s Viola Concerto in D major with a soft sound in the cantabile lines, provided verve and wit in the more animated passages and showed great soloistic presence in the cadenzas, which were designed to be more expressive than virtuoso. …”
“Christian Euler, a globetrotter on the viola born in Kassel, performed romantic and modern music with pianist Paul Rivinius from little-known realms of the duo literature.
Euler is, at least in Kassel, a well-known name in musical circles, and Rivinius, as one of two highly musical brothers, all the more so. Invited by the “Friends of Young Musicians” they both, violist Christian Euler and pianist Paul Rivinius, gave a guest performance at the Festival Hall of the Augustinum. For the many people who made the pilgrimage there, the duo appearance became a “peripheral” musical benefaction. …
He showed himself to be a master of technically controlled beauty of sound in the Sonata of Arnold Bax (1923), a work located between late-romanticism and impressionism … On the other hand, there was the memorable “Lachrymae” Op. 48, aphoristically compressed “reflections” (variations) on a song by Dowland from the pen of Benjamin Britten, whose instrumental finesses were handled by Euler with the technical mastery of a highly experienced string player… ”
Hard Blows, Exciting Playing
Concert at the Villa Bonn
“The interpretations of Christian Euler (viola) and Paul Rivinius (piano) at their chamber music concert of the Robert Schumann Society at the Villa Bonn were marked by expressive design and precise, richly facetted music-making. The programme ranged from Marin Marais to Arthur Bliss. “L’agreable”, the first of the “Cinq Danses Françaises Anciennes” von Marin Marais, began with suppleness; “La Provenole” and “La Basque” followed with marked rhythms and effervescence, whereas, in “La Musette”, the regularity of the hurdy-gurdy was vividly imitated with multiple stops and quiescent piano accompaniment. … The Sonata in D minor by Arthur Bliss, composed in 1933, became a kaleidoscope-like work full of contrasts, thanks to their flexible playing under constant tension. …”
Düsseldorf: Forum 20 — Music from 1910 to 1920
Messages from “Dark Times”
MICHAEL-GEORG MÜLLER wrote the following about the concerts: ” …The virtuosity and excessive joy of playing in Hindemith’s (still harmonically bound) Sonata for Viola (Opus 11, No. 5) was perfectly performed by Christian Euler. His wonderful, warm sound broke open the romantic world of feeling through terse rhythmical figures – and corresponded to Marc’s ‘longing for abstract, pure love’.”
On the KULTUR pages of the Süddeutsche Zeitung of 10 May 2007, ADOLF KARL GOTTWALD wrote the following about the concert of “Musica sacra Planegg”:
Trio Kontraste Thrilled Listeners with Serenades at Musica sacra
“… For serenades, with which a lover accompanies his own singing under the window of his beloved, the guitar (or mandolin) is the classical instrument. The “Romantic Serenades” of the “Musica sacra Planegg” with works by Antonio Diabelli, Joseph Kreutzer and Wenzeslaus Matiegka were also rather classical, both in their musical language and in their execution – if one understands the word “classical” to mean “perfect”.
Three excellent musicians interpreted these serenades with their instruments – flute, viola and guitar – as the “Trio Kontraste”. … the violist Christian Euler also revealed himself to be a master of his instrument and as a chamber musician of stature. His bowing, and thus his tone is – one cannot say it better – classical, perfect. Only a guitarist of ranking and name could keep pace with this highest level of music-making. This was Maximilian Mangold, who played with brilliance in St. Elisabeth, as accompanist and with the passages that allowed the guitar to stand out as a soloist in the serenades. …”