Katrine Gislinge har de sidste 3 årtier etableret sig som en af Skandinaviens mest markante pianister.

Katrine Gislinge har spillet både solo- og kammermusikkoncerter over det meste af Europa og USA.

Igennem de sidste tre årtier har Katrine Gislinge etableret  sig som én af Skandinaviens førende og mest markante pianister, og med sin formidable udtryksvilje og exceptionelle indlevelse i musikken placerer hun sig, som én af de absolut mest markante og interessante kunstnere i Danmark.

Katrine Gislinges tolkninger er præget af en sitrende følsomhed, hvor hver eneste lille detalje i musikken får stor betydning men samtidig samler sig i en klar og fremadrettet strøm. I hendes hænder, i hendes musikerskab formår hun at skabe den fuldendte balance mellem det mest skrøbelige og det mest direkte, og når man lytter til hende, går man ind i et musikalsk rum af ”berusende sensualitet” – som en anmelder beskrev det.

Katrine Gislinges repertoire spænder fra Bach til den allernyeste musik, og hun formår på en smuk og fascinerende måde at få sit personlige, følsomme spil til at give farve og ekstra dimensioner til hver eneste af klaverrepertoirets stilperioder.

I de seneste år har Katrine Gislinge især markeret sig som en overlegen fortolker af Mozarts klaverkoncerter, og om hendes fortolkning af Mozarts klaverkoncert nr. 9, ”Jeunehomme” skrev en anmelder: ” Og med Katrine Gislinge ved tangenterne fik man ikke bare en suveræn tolkning i teknisk-virtuos forstand, men også åbnet porten til musikkens himmel, ganske enkelt fordi Gislinge er en beåndet pianist.”

Den foreløbige kulmination af Katrine Gislinges arbejde med Mozarts koncerter kom i foråret 2018, hvor hun – sammen  med den svenske ”Stenhammer Quartet – på Alba Records udgav sine fortolkninger af tre af Mozarts klaverkoncerter (nr. 11-13). Udgivelsen vagte berettiget opsigt med strålende anmeldelser – ”Gislinge is unaffected and inviting. This is a quality in music-making that cannot be taught.” (Huntley Dent, ”Fanfare Magazine”)

Ved siden af Mozart ligger hovedvægten i Katrine Gislinges programmer i det klassiske klaverrepertoire – Beethoven, Schubert, Schumann, Chopin, Brahms, Debussy; men i de seneste år er der sket en udvidelse af hendes repertoire. Både nyere musik – Rachmaninov, Gershwin etc. – og den allernyeste musik er blevet en naturlig del af hendes koncerter. Naturlig fordi hun formår at lægge den samme dedikation og fortolkning i de værker af førende danske komponister som Per Nørgaard og Bent Sørensen (der begge har dedikeret værker til hende )hun har kastet sig over, som hun lægger i det klassiske repertoire. Om en opførelse af sidstnævntes ”Nocturner” på Trondheim Kammermusikfestival skrev anmelderen, Andrew Mellor:  ”Gislinge tapped the pained beauty of this music in a way it was hard to imagine any other pianist getting close to.”

Katrine Gislinge har samarbejdet med musikere og dirigenter som, Gustavo Dudamel, Gidon Kremer, Augustin Dumais, Jin Wang , Kurt Sanderling, Andreas Brantelied med flere, og spillet på festivaler som, Lockenhaus, Bergen, Trondheim, Cervantino, London, radio France Montpellier, samt i koncertsale som Carnegie Hall, Concertgebouw mm.

Katrine Gislinge har et omfattende virke som kammermusiker både på kammermusikfestivaler og som fast medlem af ”Den Danske Klavertrio”, der fra starten af deres samarbejde har høstet stor anerkendelse.

“As far as the Schumann goes, it will remain, alongside Horowitz, as my preferred Kreisleriana for some time to come…“

HAR SPILLET PÅ FESTIVALER SOM :

  • Lockenhaus
  • Festival de radio France et Montpellier
  • Cervantino Festival Mexico
  • Bergen festspillene
  • London city festival

MED BLANDT ANDET MUSIKERE OG DIRIGENTER SOM:

  • Gustavo Dudamel
  • Eri Klas
  • Kurt Sanderling
  • Heinrich Schiff
  • Gidon Kremer
  • Emanuelle Pahud
  • Gerard Causse
  • Jin Wang
  • Augustin Dumay

UDDANNET PÅ DET KONGELIGE DANSKE MUSIKKONSERVATORIUM – DEBUTKONCERT I 1992

VIDERE STUDIER HOS:

  • SEYMOUR LIPKIN, New York
  • BORIS BERMAN, Yale
  • PETER FEUCHTWANGER, London

MOZART KLAVERKONCERTER

Katrine Gislinge og Stenhammar Kvartetten spiller Mozart koncerter nr. 11-13

Mignon‘ VINDER P2 Prisen

★★★★★ »Velkommen til Bent Sørensens drømmeverden« Magasinet Klassisk

Se hvornår Katrine Gislinge skal optræde næste gang.

MOZART KLAVERKONCERTER

Katrine Gislinge og Stenhammar Kvartetten spiller Mozart koncerter nr. 11-13

Kadencer af Bent Sørensen

Schumanns »Kreisleriana« og klaverværker af Per Nørgård, heriblandt »Unfolding«, som komponisten har dedikeret til Katrine Gislinge.

Bookletten har et langt interview med Per Nørgård og viser et maleri af den kendte kunstner Maja Lisa Engelhardt, som også har layoutet forsiden til CD’en.

NY CD

BENT SØRENSEN

ROSENBAD · PANTOMIME

Katrine Gislinge, Stenhammar Kvartetten, Esbjerg Ensemble

Bent Sørensens musik kan føles som resultatet af en drøm, på samme tid vag og præcis, nærværende og uhåndgribelig. Med Rosenbad og Pantomime er udgivelsen af Sørensens Papillons-trilogi komplet.

Det er musik fyldt med et tidevand af frygt, håb og nostalgi, og forenet af deres fælles musikalske materie gennem den samme klaverstemme som anker igennem satserne.

Mozart: Piano Concertos Nos. 11-13

Huntley Dent, Fanfare Magazine

In the spring of 1781, having been booted out of Salzburg (much to his relief), Mozart arrived in Vienna. He was anxious to prove himself as a composer, but he supported himself as a performer. In a letter to his father he declared optimistically, “This is without doubt the land of the piano.” But unlike London and Paris, Vienna had no public concerts, much less independent orchestras, so when he turned his hand to piano concertos, Mozart presented them in subscription concerts with forces he organized. Another outlet was to publish three concertos—Nos. 11, 12, and 13—in chamber form.

This project for selling sheet music to interested subscribers didn’t succeed, but the resulting arrangements a Quattro (with string quartet) afford us the delightful program on this current release featuring the excellent pianist Katrine Gislinge, the first Danish pianist to record for Deutsche Grammophon, and the accomplished Stenhammar Quartet, which was formed in 2002. The soloist and quartet are prominent in Scandinavian musical life, and both are dedicated to contemporary music, which they perform, commission, and record. In the past Jerry Dubins has been extremely enthusiastic about several releases from the Stenhammar Quartet, and although Gislinge has been reviewed only once in these pages, by Peter Burwasser (in 38:1), she won high praise for an album combining her passionate performance of Schumann’s Kreisleriana with music by the contemporary Danish composer Per Nørgård.

The mixing of classical and contemporary becomes more intimate on the current release, because the cadenzas for the three Mozart concertos were freshly composed by Bent Sørensen, another important Danish composer who is also the pianist’s husband. When a Mozart piano concerto is reduced in scale without an orchestra, the solo part is brought into continuous prominence, and Gislinge proves to be a high-spirited Mozartean who keeps us engaged through her vibrant passagework and sensitive phrase-shaping.

Since he was launching his first subscription concerts with these three works, Mozart wanted to impress the public with his brilliant piano playing. Gislinge is fully up to the challenge, and more importantly she captures the captivating, joyful spirit of these major-key scores. I’ll go so far as to say that I prefer her carefree, meticulously musical reading of K 415 to the account by Alfred Brendel and the Alban Berg Quartet (EMI/Warner). Where Brendel is studied, precise, and cool, Gislinge is unaffected and inviting. This is a quality in music-making that cannot be taught.

Turning to the slow movement of K 415, the piano carries the moving line through passages where the strings drop out entirely, and here Gislinge effortlessly maintains a sense that the notes are flowing spontaneously. There’s purity in her approach, but she applies rubato sensitively to bring out touches of exquisite expressivity. The Stenhammar Quartet collaborates in the same spirit with spare, sensitive playing that doesn’t seek to inflate the orchestral part (which at this phase of Mozart’s concerto writing was relatively modest).

A vivacious sense of animation pervades all three concertos with these performers, and it’s appealing that they don’t try to fit into Classical, Romantic, or HIP pigeonholes. About his approach to writing the cadenzas, Sørensen reveals that while he was composing his own music, he overheard Gislinge practicing Mozart in another room, and as phrases captured his attention, they became the seeds for where a cadenza might go. “One goal was that the cadenzas should fly out of Mozart’s music and into mine in a playfully virtuosic way.” I think the goal was achieved in a way that seamlessly merges the opening of each cadenza, which is recognizably Mozart, into Sørensen’s contemporary voice.

Luciano Berio had a talent for overlaying his style atop Mahler’s or Schubert’s without distorting them, as if we heard both styles at the same time. Sørensen has the same knack, especially in the first-movement cadenzas, which are the longest, giving him extended space for inventiveness. At the same time he wanted to preserve “the buoyant lightness of Katrine’s Mozart playing,” and he has. Without detailing these performances, I want to praise how well the Stenhammar Quartet manages to make the accompaniments sound like true quartet performances filled with spontaneity and expression. In all, this is a highly recommendable disc, beautifully captured in SACD sound, which I heard in conventional stereo.

REPERTOIRE

Klaver solo

J. C. BACH

  • Sonater

J. S. BACH

  • Toccata i C-mol
  • Præludier & Fugaer
  • Italiensk koncert

HAYDN

  • Alle sonater

MOZART

  • Alle sonater

BEETHOVEN

  • Bagatelles Op. 33
  • Sonate nr. 8 i C-mol “Pathétique”
  • Sonate nr. 14 Op. 27 nr. 2 i C#mol “Moonlight”
  • Sonate nr. 15 Op. 28 i D “Pastorale”
  • Sonate nr. 23 Op. 57 i F-mol op. 57 “Appassionata”

SCHUBERT

  • Sonate i A-mol
  • Sonate nr. 23 i B D960 4
  • Impromptus Op. 90 D899

SCHUMANN

  • Kinderszenen Op. 15
  • Arabesque Op. 18
  • Kreisleriana Op. 16
  • Sonate nr. 2 i G-mol Op. 22
  • Carnaval Op. 9

CHOPIN

  • Fantaisie i F-mol Op. 49
  • Fantaisie-Impromptu Op. 66
  • Ballade i G-mol
  • Ballade i Ab
  • Ballade i F
  • Scherzo i B-mol
  • Scherzo i H-mol
  • Polonaiser
  • Mazurkaer
  • Valse
  • Nocturner
  • Etuder

BRAHMS

  • Klavierstücke Op. 119 2
  • Rhapsodies Op. 79

MUSSORGSKY

  • Udstillingsbilleder

MENDELSSOHN

  • Lieder ohne Worte

GRIEG

  • Norske Danse Op. 72
  • Ballade i G-moll Op. 24

DEBUSSY

  • Images Bind I
  • L’Ile joyeuse

JANACÊK

  • Sonate I.X.1905 “In the mist”

MANUEL DE FALLA

  • Fantasía Baética

BARTÓK

  • Danses populaires roumaines

ERKKI MELARTIN

  • Der traurige Garten

DAVID MONRAD JOHANSEN

  • Nordlandsbilleder
Med orkester

BARTÓK

  • Koncert nr. 3

BEETHOVEN

  • Nr. 1 i C
  • Nr. 2 i Bb
  • Nr. 4 i G
  • Nr. 5 i Eb
  • Triple koncert i C

BRITTEN

  • Koncert for klaver og strygere

CHOPIN

  • Alle koncerter

CLARA SCHUMANN

  • Koncert

GRIEG

  • Koncert i A-mol

HAYDN

  • Koncert i D

KUHLAU

  • Koncert i C

MANUEL DE FALLA

  • Koncert for klaver (cembalo), fl., ob., cl., violin og cello.

MOZART

  • Alle koncerter

SCHUMANN

  • Koncert i A-mol

SHOSTAKOVICH

  • Koncert for klaver, trumpet og strygere

SERGEI RACHMANINOFF

  • Rhapsody efter et thema af Paganini

TJAJKOVSKIJ

  • Koncert nr. 1

WEBER

  • Koncertstykke i F-mol
Danske komponister

A NORDENTOFT (b. 1956)

  • ‘Behind’

BENT SØRENSEN (b. 1958)

  • Mitternacht mit Mignon, soloklaverstykker dedikeret til Katrine Gislinge

CARL NIELSEN (1865-1931)

  • Three Piano Pieces Op. 59
  • Five Piano Pieces Op. 3
  • Chaconne

CHRISTIAN SKEEL (b. 1956)

  • Klavermusik

ERIK NORBY (b. 1936-2007)

  • ‘Passacaglia’

N. W. GADE (1817-1890)

  • Aquarelles

PER NØRGAARD (b. 1932)

  • “Turn” and “Grooving”
  • Grooving, Turn og Unfolding

P.E. LANGE-MÜLLER

  • Dæmpede melodier

TAGE NIELSEN (b. 1929 – 2003)

  • 2 nocturner

THOMAS BLACHMAN

  • Star Music Opus 1

Chopin: Fantasie Imp.

Bent Sørensen - Mignon – Papillons (2013-14)

Schumann: Arabeske Op.18

Nielsen: Alfedans

Nielsen: Mignon

Chopin: Ballade nr. 1

"Gislinge tapped the pained beauty of this music in a way it was hard to imagine any other pianist getting close to."

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