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Klavierfieber 2011

 

Startseite Musiker Klassik Konzertpianistin Einav Yarden

Konzertpianistin Einav Yarden

 

Einav Yardeneinav yarden

Konzertmitschnitte:

Haydn - Sonate G Dur, Hob. XVI/ 39, 3. Satz {mp3}einavyarden/haydn3{/mp3

Schumann - Kreisleriana, Op. 16 (Aueßerst bewegt, Sehr aufgeregt){mp3}einavyarden/schumann{/mp3}

Stravinsky - Tango

 

Biographie Einav Yarden

Einav Yarden wird besonders für ihre musikalische Integrität, die innovative Programmgestaltung und die Intensität ihrer Konzerte geachtet. Als Solistin spielte sie bereits mit dem Israel Philharmonic Orchestra, der Minnesota Symphony, dem Beethoven Orchester Bonn, der Calgary Philharmonic, der Jerusalem Symphony, der Plovdiv Philharmonic, der Israel Symphony und der The Spirit of Europe Symphony, unter Dirigenten wie Sir Neville Marriner, Aldo Ceccato, Leon Botstein, Mark Russell Smith und Mendi Rodan.

In jüngster Zeit gewann Einav Yarden den dritten Preis des renommierten Internationalen Beethoven Klavierwettbewerbs, Bonn, auf dem sie auch mit dem Cellisten Micha Maisky musizierte. 2006 war sie unter den Preisträgern des Minnesota International Piano-e-Competition und 2003 Finalistin des kanadischen Honens International Piano Wettbewerbs. 2001 gewann sie den Guralnik und den Zibermann Preis des israelischen Aviv Wettbewerbs. Neben zahlreichen weiteren Auszeichnungen gewann sie außerdem den Katz Piano Wettbewerb sowie den Buchman-Heyman Preis für außergewöhnliche Leistungen. Zwischen 1996 und 2005 erhält Sie ein Stipendium der Amerikanisch-Israelischen Kulturstiftung (AICF).

Nach vier Jahren intensiven Studiums bei Leon Fleisher am Peabody Konservatorium, Baltimore, erlangte Einav Yarden 2005 ihren „Master of Music“ und das „Graduate Performance“ Diplom. Zuvor schloss die gebürtige Israelin ein Klavierstudium unter Prof. Emanuel Krasovsky an der „Rubin Music Academy“, Israel (heute Mehta-Buchman School of Music) mit Auszeichnung ab. Vor ihrem Studium besuchte sie das Israelische Konservatorium und lernte dort bei Hadessa Gonen. Weiterhin erhielt sie Unterricht von der georgischen Pianistin Elisso Virsaladze sowie Prof. Zvi Meniker (am Hammerklavier). Zur Zeit lebt Einav Yarden in Berlin und beschäftigt sich neben ihrem regulärem Spiel intensiv mit der Spielweise historischer Pianos.

2009 gab Einav Yarden ihr vielbeachtetes Debüt-Konzert beim französischen "Flâneries Musicales de Reims" Festival. 2010 wurde sie für weitere Konzerte wieder dorthin eingeladen. Weitere Auftritte in Frankreich hatte sie beim Menton Festival, beim renommierten Pariser Salle Cortot und vergangenen Winter im Grand Salon des Hôtel des Invalides, Paris. Darauf folgte eine Tour durch Südfrankreich. Einav Yarden wurde persönlich von Adras Schiff zu einem Workshop über Beethovens Klavierkonzerte eingeladen. Dieser ist Teil des Luzern Festivals (Schweiz) und wird vom japanischen Fernsehen für eine 12teilige TV-Serie mitgeschnitten.

Ferner spielte sie beim Ruhr Piano Festival, im Steans Institute für junge Künstler (Ravienna, USA), beim Verbier Festival (Schweiz), dem Upper-Galilee Chamber Music Festival (Israel), dem Aspen Music Festival (USA), dem IMS Prussia Cove Festival (Großbritannien) und dem Sarasota Music Festival (USA) sowie zu zahlreichen weiteren Anlässen. Ihre Konzerte wurden unter anderem von der Deutschen Welle, dem WDR, WQXR, WFMT, MPR, CBC, Kol Hamusica (Israel) übertragen.

Während Einav Yarden in Israel lebte, war sie Mitglied der Israel Contempory Player, der dort wichtigsten Gruppe für zeitgenössische Musik. Sie spielte auf der sechsten Biennale für zeitgenössische Musik die israelische Premiere von Giya Kanchelis Klavierkonzert, Valse Boston. Auch weitere Uraufführungen moderner Musik wurden von ihr interpretiert. In ihren Konzertprogrammen bringt Einav Yarden immer moderne und weniger bekannte Stücke mit ein.

Einav Yarden ist eine begeisterte Pianistin für Kammermusik und widmet sich der Zusammenarbeit mit anderen hochklassigen Musikern. In verschiedenen Besetzungen spielte sie in den USA zu Konzertreihen wie Ravinia Rising Stars Series, The Dame Myra Hess Recital Series, Jupiter Symphony Chamber Players, Rockefeller University u. v. a. Auch als Solopianistin konzertiert sie regelmäßig. Einav Yarden gibt Konzerte in den USA und Israel, Österreich, Italien, Deutschland, der Schweiz, den Niederlanden, Frankreich, Bulgarien und Großbritannien.

Einav Yarden bei youtoube

 

internationale Presse

"Einav Yarden raised the enthusiasm of the audience… Pages full of charm, others full of boldness.… and a fire-like pianist in a delicious musical bouquet in which the historic chronology was merrily distorted. Beethoven, Stravinsky, then Haydn and Prokofiev. The organization of the program immediately announced the strong personality of the […] Israeli female virtuoso. Haydn’s music was not left with just a warm-up role! The rustic G major sonata by Beethoven was delicate and refined, conceived to be played in the tone of a confidence between friends… The burning dialectic of the development set things in balance…the andante variations were splendid: Beethoven handling humor, rather than drama ! … The final scherzo, a delicate joke with its malicious rhythm, terminates the sonata with audacity and mischievousness as well.

Rustic… in the three Stravinsky pieces (the stunning neo-classical sonata, the malicious Tango, then the Waltz given as an encore), the pianist let us into her wide technical abilities, her surprising palette of colors, and her burning personality. One would think that the mythical Martha Argerich was like her at the same age …

The same light bathed Haydn’s 39th sonata, a masterpiece with strong melodic contrasts, a glory of bi-thematism. The young pianist played this radiating work like a virtuoso more than like a story-teller, she did not forget to pour her heart out in the adagio, or to highlight its humor. How much panache in the final presto!

Nevertheless, in Prokofiev’s 2nd sonata the discourse became really incandescent. Thunder-like on the technical point of view, the 2nd movement speaks of the great lyricism of the masterpieces to come. This is exactly the exaltation, the passion, the “cheek”, unique to young creators of the early XXth century that Einav Yarden shared in her impeccable interpretation: her biting and hammer-like touch reminded of the “steel fingers” that fascinated the critics in the 20s! Maybe the andante, a sublime meditation, did not stare at the stars despite the rich colors and subtle nuances. Of course, the astounding finale in the style of a toccata raised the enthusiasm of the audience… under the shady vaults of the Festin Hall (Palais du Tau)."

Francis ALBOU, L’Union

 

“Whatever the equivalent of a batting average is in music, the Myra Hess Concert Series has been racking up an extraordinarily high one. It moved a notch higher July 18 with the appearance of Einav Yarden… who plays with an authority and a beauty of sound that one simply does not expect from anyone that young.

Yarden showed commanding technique plus the ability to bring out each composer’s personality. In neither piece did she strike a perceptible wrong note. That test doesn’t count for much in itself – a performance with a fistful of wrong notes can still be exciting. Still, just as an achievement, an error-free concert is somewhere up there with a hole in one.

In Yarden’s performance everything had been thought through and matched against a very high standard of musical judgment. Then it was played flawlessly. One can’t ask for much more”

Daniel Tucker, Chicago Tribune


"…From the instant her inspired fingers touched the keyboard, it was clear that [Ms. Yarden] belonged among the top-flight of her generation. Her resume is formidable… Surprisingly, this young artist has still not found a manager for her huge talent…We shouldn't have to wait very long."

Harris Goldsmith, “Thrill of Discovery” article at the 2008 Musical America Directory


“I had the good fortune of catching Einav Yarden’s recital this evening. Holy mackerel. Wow. Right out of the chute she had me sitting on the edge of my chair. She played a bunch of Gyorgy Kurtag's "Games" and they were alternately percussive and gossamer, playful and menacing. The opening movement (Perpetuum mobile) was one back-of-the-hand measured glissando after another. Her control was deadly - there were so many ways that could have sounded like a parlor trick, but it was SO perfectly precise as to be remarkable. She played another set of Kurtag's Games after her Haydn Sonata, and the last one (The Mad Girl with the Flaxen Hair) made most people laugh out loud. Imagine Debussy's Girl...from an alternate dimension. The Haydn sonata was a lovely balance between sit-up-straight precision and beer-garden minuet, the Schumann Kreisleriana was wonderfully colored & emotionally nuanced...but it was the finale that made my jaw hit the floor.”

MPR (Minnesota Public Radio), Classical Notes


"…Einav Yarden, from Israel, chose Beethoven?s Appassionata, which she interpreted powerfully but never self-importantly. Especially in the first movement, she gave a high-power, constantly driving performance. She also gave a full of character, unique performance in Robert Schumann?s Humoreske op. 20, which she tackled boldly…"

Guido Krawinkel, General Anzeiger, Germany


“…with Einav Yarden it came through in her perfect pianistic fluency. Yarden has what every pianist dreams of: a beautiful sound, lightness and spark, and a fantastic flexibility in style.”

Noam Ben-Zeev, Ha’aretz newspaper, Israel


“Einav Yarden, beautiful Israeli pianist, with a name that suggests a garden (Jardin), offered us yesterday some beautiful bouquets of notes from her garden… We loved her way of playing – refined, full of emotion, and virtuosic”

Andre Peyregne, Nice-Matin paper, France


“…Yarden’s touch is crisp, decisive and significantly accentuated, and her expression is captivatingly intense, charged with energy and persuasive.”

Ury Eppstein, Jerusalem Post , Israel


“The starlet of this all-Mendelssohn concert was Einav Yarden, a brilliant young prize-winning pianist who whisked through the Piano Concerto, Op. 25. Like a pixie from A Midsummer Night's Dream (the overture that opened the program). Her sure and secure fingers fairly danced over the keyboard with clear and purposeful focus.”

Max Stern, Jerusalem Post


“…Einav Yarden, who played Beethoven in her unique way – with restrained emotion that penetrates the heart, and technical perfection that by itself added another dimension to the experience of the music.”

Noam Ben-Zeev, Ha’aretz


“…Excellent playing; such that the technical problems are left far behind, and the musicality, intelligence and culture are flowing from every musical phrase.”

Daniel Sandler, Kol-Bo Haifa, Israel


"The concert was introduced as an eclectic program, but the performance showed great unity; pianist Einav Yarden navigated the program with great mastery. The main themes of the concert were contrast and humor—in other words, something theatrical. This trait was clearly visible in Carl Philip, who was an expert in contrasts, especially in the rondo in G major, between a couplet in minor key played with great lyricism by the musician, and the lighthearted, bouncy, and casual chorus; but also in the violent contrasting nuances in the Haydn piece. Humor was present in the rondos, but especially in the Kurtag piece. We were presented with a revised “La Fille aux cheveux de lin” by Debussy, and with a very playful scherzo that made many audience members smile. Einav Yarden was able to make the Hungarian composer sound poetic, particularly in the Pepetuum mobile, which seemed to portray a beach swept by waves, or in Larmes, the magnificent chords sunken in pedal work, which unveiled a touching melancholy. Schumann’s moods logically completed the program based on contrasts: the pianist managed to be noble when needed (“Mit eigenem Pomp” in the fourth part), or extremely sensual (marvelous first part!). Bechara El-Khoury’s creation was of a very different kind: this very lyrical piece reminded sometimes of Schumann, but with post-romantic reflections or leaning towards Debussy. However, one could also see a contrast between different harmonic languages—one more classical and another more daring, filled with extremely complex chords, almost bordering aggregation. The Israeli pianist gave us a magnificent concert... Let us congratulate the musician for her technical mastery and her memory…Finally, let us praise her for the splendid transitions, which made the sequence from CPE Bach to Kurtag feel very natural"

Raphaël ARNAULT, L'Union (France)

 

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