In Tune Magazine August/September 1996
“The horn playing of William VerMeulen is miraculous!...clearly one of the superstars on the international brass scene.”
Houston Chronicle 7/12/93
Charles Ward
“VerMeulen played the four horn concertos with polish and style...Even in his stride onstage VerMeulen had the sort of confidence that suggests a soloist's personality. When addressing the music, he played with a fluency, ease and conviction that radiated enjoyment of the music and a commitment to communication. Consistently the horn concertos were ready for prime-time playing.” (Performance of all four Mozart horn concerti in two nights.)
San Mateo Daily Jounal 8/3/08
Keith Kreitman
The ‘miracle’ of the music at Menlo
....with William VerMeulen’s French Horn on the program, the night couldn’t help but be a success. The hit of the evening was a “Horn Trio in E-flat Major op. 40” by Johannes Brahms, principally because the French Horn performer William VerMeulen is one of the best I have ever heard. On an instrument that is notorious for flubbed notes, VerMeulen was absolutely perfect in everything, including the tough one, pitch. Even the string players in the audience were vocally impressed, if you can believe that. ” (Brahms Trio Opus 40)
Savannah News-Press 10/8/1995
Sterling Adams
“The high point of the evening came next with the appearance of VerMeulen, whose skillful and spirited traversal of the Strauss Concerto was a stunning achievement…William VerMeulen gave as sensational an account of Richard Strauss' demanding Horn Concerto No. 2 in E flat as one is apt to ever hear…VerMeulen tossed off the virtuosic arpeggiation with impeccable accuracy and spun out the more melodic passages with sensuous tonal beauty.”
Houston Post 1994
Carl Cunningham
“William VerMeulen lightened the mood with his brilliant playing of the solo part in Strauss' First Horn Concerto. He is indeed a horn player cast in the Straussian mold – bold, extroverted and secure…
Houston Chronicle 1/6/97
Charles Ward
“VerMeulen has consistently stood out when appearing as a soloist with the orchestra. He displayed an excellent technical and interpretive command of the music. Just as important, he emanated a true soloist's persona.” (Haydn Concerto No. 1)
Pioneer Press
Dorothy Andries
“VerMeulen's horn playing was exceptionally sweet and sonorous. He handled the richly melodic Strauss Lines with tenderness, at times seeming to deliver them to us on pillows of eider down.”
Houston Chronicle 1994
Charles Ward
“William VerMeulen played… with a gleaming tone, relaxed legato style and triumphant confidence.”
Honolulu Advertiser April 1988
Gregory Shepherd
“For every thorny challenge Gliere hurls his way…. VerMeulen tosses each back with aplomb and turns the most derivative passage of the work into something newly lovely and unerringly musical… there aren't very many horn players around of his caliber.”
Houston Chronicle 9/21/98
Charles Ward
“…with William VerMeulen, the orchestra's best concerto soloist, the Horn Concerto No. 2 was an occasion for virtuosic playing sweetly and discreetly delivered.” (Strauss 2 nd Horn Concerto)
Fanfare magazine – May/June 1994
Robert McColley
“Horn Virtuoso William VerMeulen may be the best of the lot….”
Houston Chronicle 2/28/02
Charles Ward
“VerMeulen possesses one of the keenest understandings of the differences among orchestral, chamber and solo playing. In the Mozart, he propelled the interpretation with selfless authority and lustrous tone.” (Mozart Quintet K. 407)
Honolulu Star-Bulletin 12/11/84
Joseph Maltby
“…make no mistake about it; he is a world-class player. I doubt if many orchestras have a hornist of VerMeulen's caliber in their midst.”
Toledo Blade 2/5/05
Steven Cornelius
“Gliere found the perfect foil in horn virtuoso William VerMeulen. The playing was witty, charming, and thoroughly engaging. His encore, Rosina's cavatina "Una voce poco fa" from Rossini's The Barber of Seville, reminded this listener of just how the piece was meant to be sung.”
American Record Guide 9/1/1995
Gilbert French
“If this album (The Four Mozart Horn Concerti) with the principal winds of the Houston Symphony were released as three singles, the disc with the four horn concertos would be the prize catch. VerMeulen's awesome range of tone color, buoyant phrasing, delicate articulation, pungent accent, and emotional shading is both embracing and exhilarating.”
The Seattle Times 8/29/2003
Melinda Bargreen
“VerMeulen's clean, smooth tone and technical accuracy were exemplary.” (Schumann Adagio and Allegro)
Houston Chronicle 12/2/05
Charles Ward
“William VerMeulen was the soloist, playing in his customary svelte-toned and big-personality way. He was technically at ease and, in his own brief but challenging cadenzas, indulged in just a touch of flamboyance.” ( Mozart Concerto No.4)
Houston Chronicle 12/2/05
Charles Ward
“William VerMeulen was the soloist, playing in his customary svelte-toned and big-personality way. He was technically at ease and, in his own brief but challenging cadenzas, indulged in just a touch of flamboyance.” ( Mozart Concerto No.4)
The Buffalo News 12/7/03
Mary Kunz
“VerMeulen's playing has all the spontaneity and flexibility of the human voice. He brought a controlled, rounded tone to the lyrical melodies of the first movement, and the slow movement had a regal dignity. The finale, though, was what brought the house down. VerMeulen played with jaunty confidence, and the coda was especially witty and charming.” (Strauss 1 st Concerto)
Honolulu Advertiser November 1988
Cary Smith
“VerMeulen played with great assurance, control and beauty of tone.” (Schumann Konzertstuck)
Columbus Dispatch 1/28/90
Barbara Zuck
“VerMeulen manifested impressive potential as a concert artist….The horn, in VerMeulen's hands can indeed sing.” (Strauss 1 st Concerto)
Houston Chronicle 2/16/06
Charles Ward
“Symphony principal William VerMeulen showed his customary svelte tone and agile technique in the Quintet in E-flat Major for horn and strings, K. 407.”
The Virginian Pilot 2/13/06
Paul Sayegh
VerMeulen's tone was large, full and substantial, and he brought a playful sense to the concerto.”
(Strauss Concerto No. 1)
San Francisco Voice 8/2/05
Janos Gereben
“…the hero of both pieces was William VerMeulen, who plays the French horn as if it were just a musical instrument. The Devil's instrument, as it is, the horn is said to be played well if most of the notes come out right; for VerMeulen, all notes did, without audible effort, with winning elegance. He blended the sound exquisitely with the strings….” (Mozart Quintet K. 407)
Metro – Silicon Valley's Weekly Newspaper August 3-9, 2005
Scott MacClelland
“VerMeulen also happens to sport a fabulous embouchure and sweet tone; he made everything sound easy. Just before the end of the finale, he improvised a flamboyant cadenza, all show-off coloratura.” (Mozart Quintet K. 407)
The Savannah Review 3/5/01
Doug Wyatt
“William Ver Meulen is one mean horn player. Teaming up with the Savannah Symphony Orchestra Saturday night, Ver Meulen knocked the socks off Gliere's "Horn Concerto." By the time he completed his encore - a spirited transcription of "Una voce poco fa" from the "Barber of Seville" - he had the Johnny Mercer Theatre crowd on its feet. Standing ovations at SSO concerts, granted, are as rare as oxygen. VerMeulen's performance, though, wholly deserved the acclaim. Though a virtuoso, he wasn't overly intrusive as a soloist, instead respecting Gliere's piece as a whole. In the first movement's cadenza he showed all the pizzazz and inventiveness we could ask, but his playing was never dexterity for its own sake, flash instead of substance.”
Huntsville Times 1/29/07
Mary Anne Zollar
“Brass lovers turned out in force to witness a performance by congenial French horn player William VerMeulen. VerMeulen strode to the fore of the orchestra, set his horn to his lips and immediately heralded the opening notes of the Richard Strauss "Horn Concerto No. 2." Sonorous, rippling phrases were shared among the sections and framed VerMeulen's jewel of a performance pleasantly. VerMeulen's superb performance of the fresh little concerto was well received, and he was rewarded with a standing ovation. Upon returning to the stage for a second curtain call, VerMeulen quipped, "I think I'm warmed up now," and introduced an encore selection of Gioacchino Rossini's beloved soprano aria, “Una voce poco fa," from "The Barber of Seville." The next five minutes were the concert's zenith and worth whatever parking hardships patrons had to endure to experience.”
Honolulu Star-Bulletin April 1988
Joseph Maltby
“VerMeulen had us on the edges of our seats. We probably heard everything a horn can do… all in flawless technique. VerMeulen's confidence bestowed dignity and grace. (Gliere Concerto)

Auckland Review April 1988
L.C.M Saunders
“his smooth and mellow tone, perfectly controlled at all levels was a delight to hear, so that the concerto was over all too soon.” (Strauss 1 st Concerto)

Designed by SunNet Solutions.