Percussionist Christopher Froh has been an invaluable presence in the Bay Area for over a decade, enlivening the contemporary music scene with performances of exceptional musicality and virtuosity… Equally exciting was Froh’s astonishing solo performance of Conlon Nancarrow’s Piece for Tape, arranged for drums and woodblocks. Nancarrow’s breathless polyrhythms generate enormous energy in this brief and dizzying work, and Froh’s playing also brought out the complex counterpoint and overlapping voices of Nancarrow’s unique language.
~Benjamin Frandzel, San Francisco Classical Voice, 7/20/2013
Percussionist Christopher Froh took on Dominic Murcott’s arrangement of Nancarrow’s short Piece for Tape to great and deserved acclaim. One man sounded like a line of a hundred machine guns raking World War I trenches.
Jeff Dunn, San Francisco Classical Voice, 11/4/2012
Binge Delirium (2007), by the Taiwanese composer Yu-Hui Chang (b. 1970), was dedicated to solo percussionist Chris Froh. Chang writes in the program notes that ‘to merely describe him as a passionate, virtuosic, and energetic performer with machine-like precision would certainly fall short.’ Well, I’ll put ‘very’ in front of all of those adjectives, to try to suggest the wide-eyed magnetism Froh was able to project with Chang’s perfect, personality-fitting percussionfest, and leave it to readers to seek out the gentleman and his music. Binge Delirium
(2007), by the Taiwanese composer Yu–Hui Chang (b. 1970), was dedicated to solo percussionist Chris Froh. Chang writes in the program notes that ‘to merely describe him as a passionate, virtuosic, and energetic performer with machine–like precision would certainly fall short.’ Well, I’ll put ‘very’ in front of all of those adjectives, to try to suggest the wide–eyed magnetism Froh was able to project with Chang’s perfect, personality–fitting percussionfest, and leave it to readers to seek out the gentleman and his music
~Jeff Dunn, San Francisco Classical Voice, 4/18/2008
Ferneyhough’s Bone Alphabet—a breathless romp scored for seven unspecified percussion instruments that on this occasion ranged from wood blocks to an empty, overturned water-cooler bottle—got a tremendous rendition by Christopher Froh, thwacking away from memory in full dervish mode.
~Joshua Kosman SF Chronicle 4/27/2005
Mr. Rosenbaum, Mr. Froh and Ms. Kataoka offered an alluring interpretation of Takemitsu’s piece, whose mystical, unsettling landscapes are evoked by the lush sonorities of the crotales… The first half of the program concluded with a entrancing rendition of “Drumming: Part I” for percussion quartet (1971) by Steve Reich… The pianists Wu Han and Gilbert Kalish joined [Mr. Froh and Mr. Rosenbaum] for a vividly wrought rendition of Bartok’s ‘Sonata for Two Pianos and Percussion.
~Vivien Schweitzer, New York Times, 2/4/2015
How one followed upon another was as crucial to success as the skill of percussionists Victor Caccese, Christopher Froh, Ayano Kataoka and Rosenbaum who all played with unfailing virtuosity whatever the music — loud or soft, driving or tender, fast or slow, simple or complex.
~Alan Artner, Chicago Tribune, 2/5/2015
None of the composers seems as far from Bach as Bartok, whose 1937 Sonata for Two Pianos and Percussion, which received a brilliant performance, is modern in the extreme. . . Christopher Froh and Ian Rosenbaum, manning gongs, cymbals, drums and mallet instruments, were exemplary
George Rowe, San Jose Mercury News, 7/20/2013