"There is something prodigious about Shoshana Telner. It shows when she performs, and then later when she reflects about it. The excitement of Korngold’s Piano Quintet revealed itself to me in a recent concert as Telner allowed the music to grip her in its complexity and emotional power."
The above quote is from the start of Glen Brown's long and intriguing feature article about Shoshana Telner in the March 31, 2013 issue of Hamilton Musician, which included excerpts from an interview with Shoshana.
READ FULL ARTICLE by Glen T. Brown
...So reads the headline in an article in the Hamilton Spectator about a concert by Shoshana Telner at the Hamilton Conservatory on November 18, 2012 in which she performed all six Bach Partitas. The article contains fascinating insight into the history and value of the partita.
READ FULL ARTICLE by Leonard Turnevicius
"Sometimes it's a good idea to listen to one's intuition. That was the case with pianist Shoshana Telner's performance at The Imperial Theatre in Sarnia last night [November 4, 2009]. I saw the ad when it was posted on line and had a feeling she would be good. She was."
READ FULL REVIEW by Brian Hay
"These French dance suites are replete with ideas great and small lying in every range of the keyboard voice. Telner’s technique unfolds each one carefully. The versatility of the nine-foot Fazioli she plays allows for rich dynamic contrasts and subtle touch variations to highlight each new idea she encounters, as if to coax them out of hiding. It’s a mindful, disciplined and loving way to handle this music and the result is a breadth of beauty difficult to describe."
"Telner handles the French overture that opens the Fourth Partita perfectly, giving, extra weight to the dotted rhythms but taking it away in the weightless flourishes. The result is simultaneously balanced and lopsided, and wholly elegant."
"... [Jeremy] Bell and [Shoshana] Telner are obviously in their element, capturing the contrasting moods and meeting the various technical demands with aplomb."
"...Mendelssohn’s piano concerto in G-minor is another example of dichotomy…a forceful allegro; the familiar andante and a passionate presto finale. Guest soloist Shoshana Telner’s reading presented deliberate emphasis on the left hand. The brass introduces an intricate solo coda that was immaculately interpreted by Telner, and her technical expertise was mirrored by a brief but magnificent cello & viola melody. The soloist’s confidence was obvious and definitely apparent in her jest-like teasing with the dramatic pauses during the presto movement. There is certainly a ‘rosy’ air about her performance!"
— Danny Gaisin, Ontario Arts Review, June 27, 2009
“Helmut Seeman’s Bagatelle for oboe and piano, a lovely piece to begin with, was a special pleasure as played by Josée Marchand and Shoshana Telner.”
— The Ottawa Citizen
“…Voila bien une musicienne authentique, avec une technique rutilante, un jeu fluide, un sens profond de la construction rhythmique d’une œuvre. Son interprétation de la Partition no.2 en do mineur prouve que l’on peut jouer Bach en combinant la sérénité de l’architecture avec la chaleur d’une présence vivante et que Piano-Soleil de Denis Gougeon pouvait se lever dans l’imaginaire des couleurs…”
— Le Droit
“…(Shoshana Telner) showed Camillo Togni’s Three Caprices to be full of fire and warmth, glinting through rows of angularity…”
— The New York Times
“…Ms. Telner is a sophisticated and polished musician and pianist…”
— Julian Martin, The Juilliard School
“…Shoshana plays with authority, beauty of tone, dynamic variety, colour and extraordinary brilliance…”
— Boris Brott, Conductor
“…She is one of those rare musicians who combines a remarkable intellect with genuine and deep musical intuition and artistic instincts…”
— Samuel Headrick, Composer, Boston University