REVIEWS

GRAMOPHONE

The Jan Bartoš's new album featuring Janáček's Piano Works has received a wonderful review together with Editor's Choice in Gramophone September issue.

„Jan Bartoš draws you closely into Janáček’s com­pelling sound world, music both exposed and somehow personal, lines and details delivered from the very beginning with imagination and deep thought.“

Jed Distler, September 2019

Read the complete review:
https://www.gramophone.co.uk/…s-jan-bartos

DIAPASON

"II sait donc quel sens prêter à telle résonance, quelle liberté prendre avec Ie métronome ou comment étager les voix, sans pour autant prétendre nous donner de lecon d’analyse. 

Démontrant autant de tact que de variété d’articuIation, il aborde Ie programme avec une intelligence rare."

Nicolas Derni, September 2019

 

BBC MUSIC MAGAZINE

“Bartoš is excellent at capturing the intimacy of these unpretentious pieces with beautiful legato lines … these well-recorded performances are certainly recommendable.”
Jan Smaczny, September 2019

 

MusicWeb INTERNATIONAL

"His piano tone is beautifully pellucid, yet with plenty of warmth… Bartoš’s runs in quiet passages are ravishing, reminding one of a string of pearls... Having been the last pupil of Ivan Moravec, he makes a good alternative to Firkušný”

Leslie Wright, July 2019

PIZZICATO

*****

"Piano music has accompanied Leos Janacek all his life. His compositional development from late Romanticism to Czech national style can also be traced through three great works and smaller ones around them. The Czech pianist Jan Bartos artistically and engagingly enlivens this fine and special musical language."

Remy Franck, July 2019

BBC RADIO 3 RECORD REVIEW

"Jan Bartoš has an instinctive understanding of Janáček's musical language, the intimacy mixed with intense emotion. The recorded sound is up close and personal, a good match for the playing.”

Andrew McGregor, June 2019

EUROPADISC I THE DISC OF THE WEEK

"Sonata 1.X.1905 is one of Janáček’s boldest and most searingly intense works, and Bartoš unerringly captures its painful immediacy with the playing of thrilling earthiness combined with a formidable technique... Excellently recorded by the Supraphon team, and with an exceptionally interesting booklet interview between Bartoš and leading Janáček expert Jiří Zahrádka, this is a disc that deserves to be in any serious Janáček collection, for it just about sweeps the board in this music. And it should be heard by anyone interested in 20th-century piano music, Czech music, or just music per se!"

June 2019

HARMONIE MAGAZINE

"In his physical expression, Jan Bartoš is modest and simultaneously immersed in his inner self, while stepping completely out of himself to let the music speak. This is not only a question of character, but also of self-discipline and the ability to concentrate all energy on one’s playing, from which strong emotions gush forth afterwards. He knows exactly when to take a short breath in the music and when to let it sound in all its breadth. He transitions naturally from a meditative mood to a raging storm, from gloominess to hope."

Dina Šnejdarova, April 2019

 

BBC MUSIC MAGAZINE

Performance*****  Sound*****

"Jan Bartoš has a distinguished pedigree – the last student of Ivan Moravec, he has also been taught by Alfred Brendel – and his approach to the keyboard is quintessentially refined. Everything in this recording is outstanding... Under Bartoš’s warm, supple, and disciplined touch the first movement of that virtuosic, Haydn influenced early sonata emerges in unhurried grandeur, and the Adagio unfurls with grace; there are no histrionics in the Scherzo or the concluding Allegro. The E major Sonata is sometimes dismissed as trivial, but the delicacy of Bartoš’s treatment reveals both its quartet-like textures and its feline subtlety... The Arietta of Op. 111 is here gorgeous beyond words: its serene beauty burns brightly, then folds itself in towards an ecstatic, trill-garlanded conclusion."

Michael Church, October 2018

The Mozart album has been chosen among the Best Recordings of 2017 according to the live review site Seen and Heard International. 

What eminent American critic Bernard Jacobson said:

“Closer to the end of the year, this time not in the concert hall but on the disc, an outstanding Supraphon Mozart recording had me thinking forwards rather than back. From the very first notes of the solo part, Bartoš offers playing that might be characterized as ‘full of thinking’ – reminiscent, perhaps, of what we used to hear in the speech of Sir John Gielgud or the singing of Sir Peter Pears. It is no more than appropriate that two such masters of the voice should come to mind, for Bartoš’s pianism spans the gamut from speaking eloquence to singing grace with the utmost naturalness.”
Bernard Jacobson, December 2017

 

THE SUNDAY TIMES

“These live recordings come with Alfred Brendel's endor­sement: Bartos pairs the turbulent D minor concerto with Brendel's chamber arrangement of the earlier A major as a quasi-piano quintet. The late Bělohlávek and his superb orchestra revel in Mozart's dark, dramatic harmonies, recalling Don Giovanni, while the soloist's crisp articulation and singing legato are never far from the spirit of the composer's sunnier comedies.”

Hugh Canning, August 2017

 

GRAMOPHONE

“Jan Bartoš, on the other hand, plays on a modern piano and is joined by a steel-strung quartet with the standard line-up for K414. The acoustic here is more spacious, allowing for greater ease of balance between the instruments, although you are aware throughout that Bartoš is careful never to eclipse his partners. In the hymnlike slow movement, he spins a beguiling, sustained melody that contrasts wonderfully with his sprightly playing elsewhere.”

David Thrasher, October 2017

 

HIFI & RECORDINGS

“Bartoš possesses a very lively and richly colorful keystroke, as proven by the audience’s lively ovation at the end of the recording. Bělohlávek presents himself as an attentive accompanist who excellently supports the rhythmic nuances of the soloist as well as arouses his Philharmonic to a play full of expression. Also for this reason – apart from the good piano sound – I recommend this recording. Definitely worth a listen!”

Ludwig Flich, September 2017

 

MUSIQUE POUR TOUS

“This CD excels by the virtuosic interpretation of the soloist Jan Bartoš. The captured recording of a concert performance emphasizes the musical sensitivity of the performer gifted with a unique inspiration in the famous Piano Concerto no. 20 in D minor K. 466 which is incredibly lucid and full of light. The Czech Philharmonic, loyal to it musical tradition, is simply perfect. The recording is accompanied by one of the most popular concertos from Mozart, no. 12 in A major K414 in a chamber version for a string quartet and piano. Jan Bartoš shines here as well and proves that he is a brilliant artist. It is a seminal recording – a true gift for the ears.”

Philippe Adelfang, October 2017

 

PIZZICATO

*****

“On this very beautiful Mozart release, Jan Bartoš plays both piano concertos No. 20 and 12 very elegantly. His performance is stylistically perfect, technically flawless and playful. Bělohlávek and the Czech Philharmonic supply an excellent accompaniment in the Concerto No. 20. Concerto No. 12 is presented as the piano quintet. Bartoš and the Dolezal Quartet play the piece with the greatest ease and arouse much enthusiasm.”

Remy Franck, January 2018

 

FANFARE

“Jan Bartoš has all the prerequisites of an outstanding Mozart player in his flowing melodic line, sparkling passagework, sensitive phrasing, especially in the slow movement, and a sure instinct for the rise and fall of the music. This disc will be warmly welcomed by anyone, like me, who relishes Mozart filled with warmth and vibrancy.”

Huntley Dent, September 2017

 

 

HARMONIE

*****

“Jan Bartoš is one of our most interesting and characterful pianists today. It is clear that when recording the D minor concerto, all involved – Bartoš, the Czech Philharmonic, and Jiří Bělohlávek – were in excellent shape; no edits were made to the recording. Bartoš's piano sounds both manly and emotive. The pianist builds his interpretation on a strict pulse; his technique is brilliant and precise, the copious and particularly effective passages in octaves evoke storms or torrents, especially in the left hand.”

Věroslav Němec, September 2017