From Newspaper Reviews on Ma Xiaohui’s Performances
The beautiful musician Ma Xiaohui conjured up from her instrument erhu smoothly articulated melodies, decorated with powerful vibrati, harsh tremoli, and an excited expressivo.
Bremen Daily, 16 November 1998
In the erhu concerto with the China National Symphony Orchestra, the soloist Ma Xiaohui elicited from the simple, tiny instrument unexpectedly powerful sounds and a big variety of tones, without using a microphone.
Nuremberg News, 23 November 1998
From her two string instrument, Ma Xiaohui produced with her nimble bow a charming delicacy for eyes and ears.
Nuremberg Evening Post, 23 November 1998
One lingering note, though, will convince you that to hear Ma Xiaohui at work is worth a sacrifice and more. From a tiny voice-box attached to a two-foot finger-board, the sound vibrated by a loose-strung bow; she drew a kind of alto human voice bereft of words, but given song - the power, in this case, to lament. It was, indeed, so like singing purged of unintentional impurity, its sounds so culture-free and universal, that Ma Xiaohui’s gift, and vibrant musicality, shone out on us like light.
The Oxford Times Weekend, 27 November 1998
The incredibly poised soloist was the erhu virtuoso Ma Xiaohui, who produced a stream of mellow tone and also displayed the sunnier side of her instrument.
The Times, 26 November 1998
Electric guitars may rule the hearts of Chinese teens these days, but no other instrument is more entangled with the history of China’s 20th century than the erhu. And few can make the classical two-stringed instrument cry, plead, wail, soar, and tremble like 30-something year old virtuoso Ma Xiaohui hailed by critics as one of the leading erhu players of her generation.
Shanghai Talk, January 2000
Many friends of music didn’t know the sound of erhu and thought that Chinese music is not necessarily suitable for European ears. However, the visitors of this concert were surprised in a most positive way.
The artist (Ma Xiaohui) played with virtuosity and in a sensitive and subtle manner and brought music to life out of passed-on legends, ballads and gentle poems.
It was amazing how harmoniously both artists (Ma Xiaohui and Tim Ovens) played together, and the audience got to appreciated the well-arranged program nurtured from two cultures. At the end, both musicians were highly acclaimed, thanking with encores.
Marbacher Zeitung, 24 June 2000
Contrasts in Harmony
The piano was played by the ascetic-like Tim Ovens; behind the erhu was a perfectly smiling Ma Xiaohui. ... Already after the first notes it was clear that this lady had a masterly charisma that carried the music, whatever music.
Nürnberger Nachrichten, 5 July 2000
Ma Xiaohui is utterly devoted to the erhu, determined to strengthen its image, expand its repertoire, and build its audience. “People always say erhu is very sad. But, I say it’s very warm instead. I think it’s a lot like Chinese people - smart, difficult, sensitive. Erhu is not perfect - we don’t have four strings like a violin. But, it can occupy your heart.”
“My instrument is like a free ticket to fly around the world. I have met so many different people. I have seen hug differences in many cultures,” Ma says. “But, as human beings, I have not seen many differences. When I feel people can understand me - read me through my music - it is so wonderful.”
International Herald Tribune, December 27, 2000
Ma Xiaohui proved to be a magnificent erhu player who, as if by magic, produced out of the two strings fantastic sound effects. With much vibrato and glissando, she depicted the vocal melodies and with just as much sensitivity and temperament she expressed the poesy of the pieces and her joy of life. Li Biao created an atmospherically dense and harmonious backdrop with his subtle marimba or vibraphone sounds, entered the dialogues of melodies and, when necessary, played powerful rolls on the drums.
Ingolstadt, Donaukurier, 16 July 2001
Ma Xiaohui offered an equally virtuoso and multifaceted sample of her artistic skills and feelings. With her bamboo bow the Chinese musician elicited from the two string of the instrument an immense array of sounds from vital expressive power to wistful tones. Li Biao at his percussion instruments proved to be a sensitive and congenial music partner.
Bonn, General-Anzeiger, 7/8 July 2001
One got almost startled by the powerful sound of the instrument that reminds of a human voice and how this is able to express itself emotionally. Ma Xiaohui masters, with virtuosity, the big range of emotions from a completely intimate conversation with oneself to the wild dance and speaks through her instrument to the public very directly.
Amazing what dynamic range of tones and expressions Ma Xiaohui can bring out from her instrument; there were trills and tremolos, finest pianissimi, wild and sonorous attacks and a kind of flageolet, but also defiance and roguish charm, as if somebody was singing all her emotions and impressions to herself.
With J. S. Bach she too built a bridge to the West: his famous Air of the Third Orchestra Suite came to bear with astonishing purity and big legato - she played almost without stopping the bow - and everybody listened deeply impressed.
St. Galler Nachrichten (Switzerland), 14 January 2004
For the Chinese Ma Xiaohui, the erhu is more than just an instrument: She responded to the long and enthusiastic applause in her very personal language. In her solo encores, she brings together natural sounds and elaborated art, singing birds and Bach, in a very natural and expressive manner.
St. Galler Tagblatt (Switzerland), 10 January 2004
Posts
