Markus Däunert was born in 1970 in Berlin and studied with Walter Carl Zeller in Berlin and Jost Witter in Weimar. He completed his studies with Werner Scholz, Igor Ozim and Norbert Brainin.
From 1997-2005 he co-led the Mahler Chamber Orchestra, with which he also appeared as soloist, under conductors such as Claudio Abbado, Daniel Harding, Iván Fischer, Kurt Masur, Bernhard Haitink, Trevor Pinnock and Philippe Herreweghe. He has been guest leader with orchestras such as Scottish Chamber Orchestra, Leipzig Gewandhaus Orchestra, Ensemble Modern and frequently appears as guest leader of Orchestre National du Capitole de Toulouse and BBC Philharmonic. Däunert is a frequent guest with the Berliner Philharmoniker.
As a chamber musician, soloist and teacher he has been regularly invited to Schleswig Holstein Musik Festival, Aldeburgh Music, Dartington Summer School, Cappenberg Festival, Hellens Festival, Mantua Festival, Festival Domain Forget, New England Conservatory and Manhatten School of Music. He has appeared as a soloist and chamber musician with pianists such as Christian Zacharias, Alexander Lonquich, Gianluca Cascioli, Martha Argerich, Steven Kovachevich, Daniel Adni, Michaela Ursuleasa, Benjamin Frith, Herbert Schuch, Christian Blackshaw, Ricardo Castro and other musicians such as Nicolas Altstaedt, Máte Szücs, Danusha Waskiewicz and Bruno Delepelaire.
He has appeared at several major music festivals, including Wiener Festwochen, Wien Modern,
Salzburger Festspiele, London Proms, Menuhin Festival Gstaad, Rheingau Musik Festival, Festival d'Aix-en-Provence, Berliner Festspiele, Lucerne Festival and Ruhrtriennale.
Däunert plays on a model made by the German violin maker Christoph Götting (Wiesbaden).
'a new version of the Serenade with the young British tenor Allan Clayton is the real draw of this download...'more >>American Record Guide
'This recording has the advantage of firstrate sound, a superb horn player who is at least the equal of Brain or Tuckwell with an even greater range of tonal nuance, and a singer who simply has a more pleasant sound than Pears.'more >>Fanfare
'...the ensemble is particularly impressive in the hushed sections, playing with exquisite beauty and control...'more >>Crescendo
'...extraordinary performances, aided by top-notch soloists..few recordings satisfy as much as this one, with deliberate, but intense, readings...'more >>Forum Opera
« Le piano de Lorenzo Soulès en offre une interprétation étincelante...Le raffinement de Britten est servi en maître dans ce jalon d'une musique. »more >>BBC Music Magazine
'In the following Tennyson song, "Nocturne", aided by the Aldeburgh Strings' splendidly evocative playing, Clayton sounds suitably heroic at the final "Blow, bugle, blow"...Lorenzo Soules plays Young Apollo's glittering piano part with charismatic dash...'more >>Voix des Arts
Recording of the Month: 'Clayton establishes himself as a triumphantly worthy successor to Pears...Clayton's voice is both more beautiful and more secure throughout the range than Pears's, but the forthrightness with which he limns the distress of lines like ‘O rose, thou art sick' recalls Pears's interpretive perspicuity.'more >>Pizzicato
'..the soloists are one and all excellent, as are the exceptionally good Aldeburgh Strings.'more >>The Guardian
'urgent, vibrant and punchy'more >>The Sunday Times
'These performances by the Aldeburgh-inspired ensemble vividly affirm Britten's genius.'more >>Gramophone
'All are performances to be recommended.'more >>MusicWeb International
'One is struck by the beauty and security of their quiet playing - a virtue which comes to the fore also in the gorgeously lyrical Prelude. The accompanying Fugue, meanwhile, is a contrapuntal tour de force, and tossed off here with notable verve and aplomb.'more >>Der neue Merker
'Britten's short but magnificent tone poem…bursts with radiant vitality, rises in iridescent tones before us...'more >>Classic FM
'...the playing of the hornist Richard Watkins is also truly exceptional...a performance so worth treasuring.'more >>