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Quickborner Tageblatt 28/03/2017: Charismatischer Künstler Markus Groh überzeugt mit romantischer Klaviermusik.
Schumanns monumentale C-Dur-Fantasie, Op 17 - … Groh gelang es, die weit gespannten Räume des romantischen Werkes in makelloser Gestaltung zu durchmessen. Das war große Klasse!
Nach lang anhaltendem Beifall sorgte Groh mit einer Liszt-Transkription aus dem „Tannhäuser“ von Richard Wagner und einer Interpretation von Schuberts „Die Forelle“ in einer Bearbeitung von Franz Liszt für einen heiter beschwingten Ausklang an diesem Abend.- Redaktion des Quickborner Tageblatt - Full article

Independent Santa Barbara 22/11/2016 : S.B. Symphony Performs with Two Pianists
Natasha Kislenko and Markus Groh Join Orchestra for Remarkable Performance
Mozart’s Concerto for Two Pianos in E-flat Major. The energetic composition pairs two pianos opposite each other and is written as a musical dialogue with two unique voices. Like a duel, Kislenko and Groh exchanged Mozart’s melodies not only with one another but with the formidable sound of the symphony members. A true drama that left the audience breathless, Kislenko and Groh received a lengthy standing ovation.
The final piece, Tchaikovsky’s deeply sensuous Piano Concerto No. 1 in B-flat Minor was Groh’s turn to enchant, his style of playing stern and physical. Tchaikovsky’s high-intensity composition paired with Groh’s incredible precision commanded a powerful final applause. - Gabriel Tanguay - Full article

Ohama.com 22/10/2016: Omaha Symphony & Markus Groh
German pianist Markus Groh making his Omaha Symphony debut offered an impressive performance of Liszt’s Piano Concerto No. 1 in E-flat Major for Piano and Orchestra. The 46-year-old has become celebrated for his interpretations of Liszt since winning the Queen Elisabeth International Competition in 1995. Sporting a shoulder-length ponytail, he both looked and sounded youthful in performance. Groh is that rare artist who balances ample power with the lightest of touches. Commanding without ever being muscular, he offered beauty and evenness of tone, silky smooth arpeggios and flawless trills. .. At the end of the piece, a fellow to the left of me shot out of his seat exclaiming, “Oh, boy!” - Michael Lyon - Full article