Reviews

Complete Beethoven Piano Sonata Cycle Nov 2011 – April 2012
Quite Superb”…from a review in Music and Vision of the third concert on Dec 7, 2011
The pianist reappeared, fresh from the fray, for the final work on his programme — the ever popular and highly respected Sonata No 23 in F minor, Op 57, Appassionata. His performance was quite superb, with perfect pacing, and those pregnant pauses, that ‘make’ or ‘mar’ all interpretations, superbly judged. The drama and poetry also included just the right amount of pathos — complete with all the slight pauses and mood changes, including various modulations, where the performer has to slightly adjust his metre. The repeated notes and trills — particularly at the close — had pristine clarity, while the Adagio chords, together with the Più Allegro, immediately beforehand, were wonderfully judged.
As Kathryn Stott once reminded me, the second movement should not be too slow: Andante con moto, piano e dolce (legato) clearly indicates a constant flow throughout each variation of the main theme. This was admirable, as were the timings of pause markings, and the fortissimo chords that link with the start of the finale, Allegro, ma non troppo. Along with the repeat, this was a thrilling experience, the closing Presto passage categorising a high water mark in any pianist’s award for excellence.


Read a review of Julian’s 2003 Charity Beethoven Marathon in London
On Friday 31st October 2003, London witnessed a memorable event: the performance by Professor Julian Jacobson of all Beethoven Piano Sonatas in one day. The place was St James Church Piccadilly, a splendid 18th Century building, its classic architecture providing a fitting setting. The recital began at 9.15am and concluded at 10pm with only three short breaks. The Sonatas were played in chronological order. Before the recital, one wondered how it would be possible to do justice to the whole oeuvre in one day. In the event, we were given a magnificent recital, an unforgettable experience. Professor Jacobson played the whole cycle from memory, only having the assistance of a score in the Hammerklavier Sonata: a feat in itself, particularly remarkable as the performance was without any memory lapses or faulty turns. A Bösendorfer grand with magnificent tone was the instrument, its bass notes particularly rich and resonating.
The afternoon section concluded at 6pm with a thrilling performance of the Appassionata, which brought the audience to its feet, the concluding Presto marking a culminating point. After a short pause the evening recital began at 6.30pm with op.78, in which Professor Jacobson again set the scene for all that followed in his mastery of tempi, dynamics and phrasing. The late Sonatas unfolded their glory, the slow movement of the Hammerklavier beautifully sustained. So it was that finally we reached the Arietta of op.111, played before an audience rapt and moved: it seemed that we listened to Beethoven’s own summary of his achievement. As the last note was played, we heard the chimes of the hour. Time brought to an end a day when Beethoven’s music through Professor Jacobson’s playing marked a memorable moment in our lives.

Over all was the “safter Flügel” of joy in charity. The event was in support of Water Aid, an international charity which raises money to help some of the poorest countries in Africa and other areas to have access to clean water and its related blessings. Professor Jacobson and all involved in the event gave their services free and all money rasied through donations and ticket sales was donated to the cause. We can be sure that the Master approved.
Professor Adrian Sterling, November 2003, London


Orchestra Platform Seven Debut Concert with Ivry Gitlis Feb 2012
Review from www.classicalsource.com
This debut concert for Orchestra Platform Seven (named after the “imaginary, speculative and idealised space for the weary traveller that is the ‘missing’ platform at London Bridge station) was an event for its musicians anyway, but the appearance of Ivry Gitlis, who, in his ninetieth year, proved an energised performer, added a frisson to proceedings. It will be a remarkable story for the musicians – all graduates from the Royal College of Music – to tell in the decades to come: that they played with Gitlis, who was himself taught by George Enescu (1881-1955).
Ivry Gitlis offered Chausson’s wonderfully atmospheric Poème, which concerns the unrequited love of a musician for a beautiful girl, and, after a false start – Gitlis halted proceedings after his opening statement because he was missing the cushion for his violin: “a violin without a cushion, fine, but what’s a cushion without a violin?” he entertained as one was found – gave a free-spirited account. In fact, it was the orchestra that was Gitlis’s cushion: its playing haunting and mystical – superb – to his independent voice. Much-reduced forces were employed for the Adagio from J. S. Bach’s E major Violin Concerto, which Gitlis led. It was a thoughtful meditation from the orchestra, often beautifully sounded. Gitlis the fiddle player was on show, and whilst his instrument’s tone was not rounded, his flowing phrases and long experience were sufficient reward.

Encores were inevitable (and the funny stories were an unexpected pleasure), and three were duly dispatched, with Jacobson accompanying. A heartfelt account of Maria Theresia von Paradies’s Sicilienne
preceded two by the “love of all violinists”, Fritz Kreisler: Schön Rosmarin found Gitlis full of joy, whilst he truly revelled in the dexterity needed for Syncopation. It would be remiss not to mention Gitlis’s instrument, which did not sound well, and there were other failings, but Gitlis is a player born out of a tradition of playing much freer than current audiences are used to; it was a welcome privilege to hear this legendary artist, who is a window on such practice.

Julian Jacobson opened the concert with Mozart’s C minor Fantasia, its beauty and volatility well-judged
on this church’s expressive Faziola instrument. His unforced playing seduced and the vigorous sections were propelled. Similarly K453 was a tonic. Some beguilingly elegant oboe contributions along with the clean sounds of the strings made this a pleasure to hear against Jacobson’s refined playing.
The slow movement had an affecting stridency in places, and the finale, sprightly and flowing, unafraid of fleeting darkness, revealed both grandeur and humour, with deft touches from the soloist.


Ensemble
“Not only a remarkable achievement of stamina, memory and dexterity, Julian Jacobson’s Beethoven Marathon – a performance of all Beethoven’s thirty two piano sonatas in a single day – was also exhilarating, if slightly eccentric, artistic experience, for both performer and audience.” – Malcolm Miller


Pianist Magazine
Dvorák – Humoresques, Meridian CDE 84521
“…Jacobson’s advocacy of this music in his playing – supported by his warm defence in the liner notes – reveals many beauties, and listened to in twos and threes rather than right through as a sequence, these are often delightful pieces….Jacobson’s unfailing sense of dancing rhythm keeps them on the move – and comes into its own in the Humoresques” – Calum MacDonald


CD Review
Weber Piano Sonatas 2 & 3, Meridian CDE 84251
“This is played in an exciting and committed manner, with lots of dash and elan….Jacobson plays the ‘Invitation to the Dance’ with tremendous sensitivity and care” – Murray McLachlan


Hampstead and Highgate Express
“Julian Jacobson’s performance of Anton Rubinstein’s E flat Romance was poised and thoroughly romantic. From the restless themes of the opening movement of the Brahms, through the soft sonorities of the intermezzo, to the triumphant conclusion of the andante and wild exuberance of the finale with its Hungarian gipsy music, Jacobson majestically impelled the work along” – D.S


Dimineata Magazine, April 2005
“In his role as soloist in Chopin’s Concerto no 2 for piano and orchestra, accompanied by the George Enescu Philharmonic Orchestra conducted by Florentin Mihaescu, Julian Jacobson imposed himself through his instrumental fervour, and elevated understanding of the inner musical world, his sensitivity throughout the score, his exceptional musicality and his virtuosity of great clarity and precision.”


British Music Society News
English Violin Sonatas CD Portrait – PCL2105
“All praise then to Julian Jacobson whose intelligent and spirited playing make him one of the best two or three pianists who have consistently dedicated themselves to British contemporary music.” – Robin Freeman


Western Mail
“Pianist Julian Jacobson easily matched the whole ensemble’s faultless performance of Stockhausen’s ‘Kontra-Punkte’, and a gripping rendition of Messiaen’s Cantéyodjayâ, for solo piano.” – Rhodri Clark


Daily Telegraph

“A disarming technique coupled with a undoubted intellectual mastery made Julian Jacobson’s recital an awe-inspiring experience…”

“Opening his Wigmore Hall recital with a performance of Mozart’s Sonata K.576 that combined delicacy of touch with tensile strength in rhythm and structural outline. Julian Jacobson went on to cover a wide stylistic field with equal vigour…”

“He played the studies with enormous verve and with an amazing clarity, just as the rest of his programme (Schubert and Debussy) showed a carefully controlled but sensitive temperament… in Jacobson’s performance it was the verve and flair he brought to Ligeti’s textual intricacies which gave the music its particular impulse and excitement. (British premiere of Ligeti’s Etudes Book 1)…”

“(Corey Field’s Piano Sonata) a mark of the most concentrated yet imaginative resource, played with an impressive commitment, brilliance and affection…” – Bryce Morrison


Guardian

Real poise, delicacy of touch and judicious pedalling… stylish and enchanting
(Debussy’s Preludes Book 2)…”

“Julian Jacobson, in stylish and idiomatic fashion, delivered the important concertante piano part with immense brio; the orchestra complementing his efforts in a brilliantly successful account. (Martinu’s ‘Sinfonietta Giocosa’ with the Bournemouth Sinfonietta under Tamas Vasary)…”


Times
“Its near minimalistic repetitions and driving amplifications have a cunningly kinetic effect which Julian Jacobson and the English Chamber Orchestra recreated in all their brittle brilliance.
(Britten’s ‘Young Apollo’ at the Royal Festival Hall…”


Penguin Guide to Compact Discs, Cassettes and LPs
“Brillantly nimble and felicitous… he contributes a rare sparkle to the proceedings…”


Musical Opinion
“(Ravel Series). Jacobson continue to demonstrate his talent for bringing out the music’s cardinal features yet integrating them with their surrounding textures. All in all, two estimable concerts; faithful to Ravel and worthy of his memory…”


György Kurtág
“Julian Jacobson is a possessor of perfection in musical interpretation and this illuminates his chamber music partners as well as his students and all listeners…”


South Wales Echo
“Pianist Julian Jacobson was a pretty arresting performer, most notably in Musicians Canteyodjaya, a performance packed with energy…”


Peter Feuchtwanger, EPTA UK
“He is certainly one of the most remarkable, original and interesting pianists of today…”


The Oxford Times
“It was quite clear from his recital….that the pianist Julian Jacobson is a musician to be reckoned with; an artist whose formidable interpretative power constantly reveals the known repertoire of sonatas by Haydn and Chopin in a clearer, penetrating and often revelatory light.”


St John’s College Oxford
“…hoc autem anno Julianus Jacobson multorum aures modis Beethovenii non semel sed octies oblectavit.” – Beethoven Sonata Cycle 1996