Reviews

Review of Isaac Shieh’s solo recital at the 10th Edition of Musica da casa Menotti, as part of the 66th Spoleto Festival dei Due Mondi, by il Graffio

‘…Ah, è lui quello che mi sembrava “solo” un elegante portiere d’albergo… ragazzo speciale di Nuova Zelanda, d’Inghilterra, di Cina e di tutto il mondo, sopraffino cornista-solista e in quintetto, ricercatore, professore (PhD), divulgatore… oltre che borseggiatore seriale ovunque di borse di studio, quindi serio e perfezionista. Non so agli altri 15, a me Isaac Shieh è piaciuto. Un’ora e 5 euro per volare ben sopra la Rocca di Spoleto.’

Review of Edinburgh International Festival 2022’s Bach Brandenburg Concertos with Richard Egarr and friends, by Simon thompson for Seen and heard International

‘… Egarr had assembled a list of elite soloists hailing from four continents, each of whom is probably a leading expert in the instrument they played. There are endless opportunities to display that when you are hearing all the Brandenburgs, and not one was wasted here. I loved the earthy horns that burst uncontrollably through the surface in No.1…’

Review of Royal Academy of music’s Bach and Politics with Masaaki Suzuki, by David Nice for The Arts Desk

‘… in the bass aria "Quoniam tu solus sanctus"… Not only was there a sheen to the intelligence of Johannes Moore, but also the most perfect delivery I've ever heard live of the treacherous horn solo from Isaac Shieh. It might seem invidious to talk of stars when this is all about ensemble, but Shieh truly crowned the whole achievement.’

Review of British Horn Society Festival Gala Concert 2018, by John Humphries for The Horn Player, Vol. 15 No. 3

‘… in Isaac Shieh’s performance of Gallay Caprices on hand horn… Isaac has a cast iron technique and the ferocious technical challenges posed by a composer who knew more than a bit about hand horn playing, were overcome without Isaac apparently turning a hair.

The period instrument flavour continued with Schubert’s Nachtgesang im Walde, played on three hand horns, led by Isaac, with an early German rotary valve horn playing the fourth part, and four fine young male singers from the RWCMD. Performances are rare and normally feature a whole male voice choir, but this was just as Schubert would have heard it at the concert at which it was premiered in 1827. For this listener, it was a revelation and the highlight of the day. Brilliant, and bravo, the RWCMD!’