“Nicholas DiEugenio’s performance of the hugely challenging Chaconne was excellent.” –New York Times, April 2017

”…evocatively rendered by Mr. DiEugenio.” –New York Times, March 2014

“Violinist Nicholas DiEugenio played with rapturous poetry…”–American Record Guide, January/February 2018 

“DiEugenio’s terse, spare approach bears noting, sometimes recalling the deliberately-astringent style of Paul Zukofsky…”–I Care if You Listen, February 2018

“DiEugenio, whose prowess as a fiddler clearly encompasses period practice and ‘modern’ violin playing…began with a HIP instrument, delivering an astonishing rendition…breathtaking for its artistry and technical assurance.” –CVNC, August 2017

Classical Voice of North Carolina, November 10, 2020 (Alone/Engaged Virtual Series):

“DiEugenio captured the emotional character of Bach’s works. Viewing his performances, to see close-up his face and body language, allowed one to see the artist’s complete engagement with the music.”

Gapplegate Classical Modern Music Review, December 10, 2018

“The duo of DiEugenio and Solomon are world-class and extraordinarily nuanced in how they bring out all the implications of these works.”

Classical Voice of North Carolina, December 6, 2017 (Sibelius Violin Concerto with UNC Symphony):

“DiEugenio displayed a full armory of technical fireworks, superb intonation, a full, refined tone, and nimble multiple stops. The depth of his interpretative insight was revealed over the course of the meditative slow movement. Both soloist and orchestra were unleashed in the finale…DiEugenio’s powerful tone and colorful palette were unabated while the student musicians gave their all.”

New York Times, April 14, 2017:

“The Tenet-Sebastians production was a riveting example, easily the most compelling of the recent spate of New York performances.”

Classical Voice of North Carolina, Nov. 20, 2016:

“DiEugenio played with a unique, subtle humor that was always shown on his face…”

ArtsJournal, September 7, 2016:

“The Sebastians’ performances had a face, smell and color that I didn’t know I was missing. What did we ever do without those qualities? At times, I felt like I was hearing the music for the first time.”

-David Patrick Stearns (Music Critic for the Philadelphia Inquirer) reviewing The Sebastians’ Sept. 3rd, 2016 performance of Brandenburg Concerti 

Palm Beach Arts Paper, October 22, 2015:

“Violinist Nicholas DiEugenio was particularly fine in his role as first violinist, displaying a dark, intense sound that fit Runestad’s heart-on-sleeve music well.”

Classical Voice of North Carolina, November 6, 2010:

“Nicholas DiEugenio, Jubal Fulks, and Alexander Ezerman joined Youngerman and Tsong and launched into the first movement with zest and drive. DiEugenio convincingly led the quintet with passion and purpose throughout every movement.”

Seattle Times, October 10, 2008:

“…(Iryna Krechkovsky, violin; Nicholas DiEugenio, violin; Beth Meyers, viola; Kevin McFarland, cello), sans clarinet, went on to play a superbly nuanced Philip Glass String Quartet No. 5. The group produced some gorgeous scrambling effects in the third section and turned the shifting scale progressions near the conclusion into a fierce display of unanimity and control.”

For Into The Silence with Mimi Solomon on New Focus Recordings


“DiEugenio and Solomon play with complete dedication”

“authoritative and convincing”

“This album is astoundingly played. I’m amazed by DiEugenio and Solomon’s artistry. Their musical cohesion is superb, and I’m grateful for their choice to make this kind of album.”

-David Kulma, New Music Corner, September 2017

“…the program is beautifully and pleasingly built–and played.” 

“10 out of 10 stars”

-Marvin Ward, CVNC, February 2018

“A touching, committed testament to a unique presence in American music.”

-Andrew Stock, I Care If You Listen, February 2018

For Complete Schumann Sonatas for Violin and Fortepiano with Chi-Chen Wu

on Musica Omnia Records


“I know no other music that depends so much on the interpreters for an effective realization. […] Stick with Kremer and Argerich (Nov/Dec 1987) or Nicholas DiEugenio and Chi-Chen Wu (Sept/Oct 2015) for more enthusiastic performances.”

American Record Guide March/April 2016

“the [FAE] duo … capture[s] the vigorous passion and endlessly inventive whimsy that characterize Schumann in these most characteristic manifestations of his extroverted Florestan persona. The seamless ensemble helps us to hear these works in a single united voice in which the violin provides the intimate, lyric core and the piano an almost symphonic, expansive texture of breathless virtuosity.”

-John Greer, Historical Keyboard Soceity of North America, Fall 2015

“The three presented by DiEugenio and Wu on this recording, with the period pianoforte, are totally convincing….

…DiEugenio and Wu give the music plenty of the passion called for, but also a gentleness and sensitivity to the introspective aspects of the scores that help us hear contrasts and formal balances that a more bombastic, bravura version might miss.

In the end we get interpretations that glow, that resurrect Schumann’s intent, that thrive in the rich thematic material and show us that the three sonatas as a whole are fully deserving our attention and reward us with some very fine music. Schumann fans will revel in this release…Very recommended.”

Classical-Modern Music Review, March 1, 2016:

Gregory Applegate, reviewing the Complete Schumann Violin Sonatas

“…violinist Nicholas DiEugenio and fortepianist Chi-Chen Wu, represent an “old school” geniality characterized by liberal tempo and phrase inflections, melodic underlinings, and expressive slides.

…the rugged, emphatic Finale’s symphonic breadth and cumulative power convinces in an entirely different manner than the far quicker and texturally agile Faust/Avenhaus rendition. By contrast, Faust and Avenhaus prettify the posthumously published D minor sonata’s Intermezzo, whereas DiEugenio and Wu go for the proverbial jugular.” 

-Jed Distler, reviewing the Complete Schumann Violin Sonatas

Wu’s musical partner is the inspired Nicholas DiEugenio. He is equally adept at breathtaking virtuosity as he is at the regretful soliloquy, like that heard near the outset of the second sonata, dedicated to another famed violinist Ferdinand David. This arcing, ardent monologue follows the slashing chords of the movement’s opening—bold, almost violent brushstrokes indeed.

Counterpunch, September 25, 2015

-David Yearsley, reviewing the Complete Schuman Violin Sonatas