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With wafting romantic impetus

Barto’s performance was powerfully resilient, gently and untiringly forming the interplay between piano and orchestra… A fascinating time, never routine, with standing ovations.

Allgemeine Zeitung Mainz, 08.10.2019, Manuel Wenda

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Pianist as well as Poet

Through his impressive virtuosity at the furious beginning and in what follows in a very intimately declared second movement, Barto convincingly proved how differentiated these highly complex fantasies in terms of expression and technique can be shaped.

nordbayern, 27.03.2019, Diethard Hennig

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Festival « Présences 2019 »

One can only admire Tzimon Barto’s velocity and litheness.

Roads Magazine, Stéphane Loison

Moments of pure joy

This is how it sounds when a musician devotes himself entirely to a work! He gambled, dared going to the edge to express himself, conjuriing up magical moments in the hall. Fiery rage met chamber music full of delicate beauty. His expression is never an end in itself – the work and its effects are always in the foreground!

Die Rheinlandpfalz – Mittelhaardter Rundschau, 31.01.2020, Matthias Ibelshäuser
Tzimon Barto, Prokofiev Piano Concerto No. 3 C major, op.26, Deutsche Staatsphilharmonie Rheinland-Pfalz, Michael Francis

Large sound, deep emotions

His delicate hands have a spectrum of dynamic options from the finest piano to brute fortissimo outbursts, from elegiac, lyrical passages to rhythmic eruptions, which is what makes Prokofiev’s most famous piano concerto.

Wormser Zeitung, 30.01.2020, Viktoria Seibert
Tzimon Barto, Prokofiev Piano Concerto No. 3 C major, op.26, Deutsche Staatsphilharmonie Rheinland-Pfalz, Michael Francis

Each chord is an exclamation point

You cannot ignore any of its notes. […] Barto’s madly virtuosic, crystal clear, sometimes brutally transparent way of playing suits these explosions of the subconscious, which one cannot escape.

Nürenberger Nachrichten, 29.01.2020, sar
Tzimon Barto, Prokofiev Piano Concerto No. 3 C major, op.26, Deutsche Staatsphilharmonie Rheinland-Pfalz, Michael Francis

Divine demonic ride

His ballet of the hands accelerated as if in fast-forward, the needle-sharp precision of the often ludicrously intertwined finger acrobatics – the performance of a perfectionist. For free. The pure musical feeling of this artist was even more captivating. And the sensational power over the lyrical expressive possibilities of the piano and the immersion in the poetic truths beneath the sonic surface.

Die Rheinlandpfalz, 24.01.2020, Gertie Pohlit
Tzimon Barto, Prokofiev Piano Concerto No. 3 C major, op.26, Deutsche Staatsphilharmonie Rheinland-Pfalz, Michael Francis

Big arms, powerful piece

When it comes to design and refined touch, the so-called “Schwarzenegger of the Piano” born in Florida in 1963, succeeds in extremely finely chiseled, dynamically exemplary, differentiated interpretations.

leo Freizeitmagazin, 09.01.2020, kai
Tzimon Barto, Prokofiev Piano Concerto No. 3 C major, op.26, Deutsche Staatsphilharmonie Rheinland-Pfalz, Michael Francis

With wafting romantic impetus

Barto’s performance was powerfully resilient, gently and untiringly forming the interplay between piano and orchestra… A fascinating time, never routine, with standing ovations.

Allgemeine Zeitung Mainz, 08.10.2019, Manuel Wenda
Tzimon Barto, Brahms Piano Concerto No. 2, Philharmonisches Staatsorchester Mainz, Hermann Bäumer

Pianist as well as Poet

Through his impressive virtuosity at the furious beginning and in what follows in a very intimately declared second movement, Barto convincingly proved how differentiated these highly complex fantasies in terms of expression and technique can be shaped.

nordbayern, 27.03.2019, Diethard Hennig
Tzimon Barto, Rezital

Festival « Présences 2019 »

One can only admire Tzimon Barto’s velocity and litheness.

Roads Magazine, Stéphane Loison
Tzimon Barto, Rihm Piano Concerto No. 2, Orquestre Philharmonique de Radi France, Nicholas Collon

Berlin, Philharmonie: BARTÓK, SCHUMANN, 06.12.2018

It started with Béla Bartók’s horrendously difficult (Second) Piano Concerto, a concerto that gives the pianist no time to deeply breathe. Tzimon Barto faced this enormous challenge with an admirably forward-looking, attached security. (…) The soloist shone with never-ending, precise chains of trills and brilliant note repetitions. In addition, one was astounded by the unusually delicate notes in the two slow parts of this movement, sounds, to which he seemed to be listening.

oper aktuell, 06.12.2018, Kaspar Sannemann
Tzimon Barto, Bartók Piano Concerto No. 2, Deutsches Symphonie-Orchester Berlin, Christoph Eschenbach

Something very precious

The spectacular highlight of the concert was the appearance of the American pianist Tzimon Barto. His hefty Bartók Second Piano Concerto became the event. Barto inexorably hammered the intricate rhythms, sometimes even with his fist on the keys one moment, and the next produced tremendous delicacy, which one would hardly have expected given his muscular form.

Hannoversche Allgemeine Zeitung, 01.12.2018, Stefan Arndt
Tzimon Barto, Bartók Piano Concerto No. 2, NDR Radiophilharmonie, Christoph Eschenbach

Barto performs captivatingly and dynamically

Also Robert Schumann’s Humoresque in B-flat major (op. 20) is unfortunately not often heard in concert halls. After all, not everyone dares approach this extended piece with a length of about 30 minutes without a break. The seven intertwining parts came to the stage as in one mold. The strong character contrasts are excellently worked out like none other, by confronting warm sensitivity and cultivated sound force together.

Westdeutsche Zeitung, 06.03.2018, Hartmut Sassenhausen
Tzimon Barto, Recital

Music from another planet

His explosive mixture of power and sensitivity, his fascinating multi-faceted attacks from hard to buttery-smooth, his magnificent dynamic range – all this is simply breathtaking and leaves a downright speechless audience in Kaiserslautern. Each cell of his enormous body seems to vibrate while playing the piano, never forgetting its completely remote, sweetest melancholic representation of the Adagio. This is music from another planet.

Rheinpfalz, 4.12.2017, Markus Pacher
Tzimon Barto, Ravel Piano Concerto in G, Deutsche Staatsphilharmonie Rheinland-Pfalz, Karl-Heinz Steffen

Extravagant and Exotic

Pianist Tzimon Barto shows his tremendous versatility in Bartok’s First Piano Concerto “Barto manages to match the pianissimo piano tone to the woodwind sound. And in the raucous, virtuosic percussive passages, he finds a rigid precision, not at all mechanically-drilled, without seeming casual.”

Lusatia Runschau, 24.10.2017, Rüdiger Hoffmann
Tzimon Barto, Bartók Piano Concerto No. 1 Sz. 83, Philharmonisches Orchester Cottbus, Evan Christ

Anomalies and good cheer with the Hong Kong Phil in Brahms and Dvořák

In the “little wisp of a scherzo” (Brahms’ description), Barto was exceedingly eloquent in the repartee with the orchestra, especially the low strings. The most impressive collaboration between soloist and orchestra came in the Andante, the introspective soloist being engulfed as if in a reverie in the now mellower strings and richly lyrical orchestral colours.

Bachtrack, 08 Oktober 2017, Alan Yu
Tzimon Barto, Brahms Piano Concerto No. 2 B flat major op. 83, Hong Kong Philharmonic Orchestra, Christoph Eschenbach

Season Opener Mastered with Youthful Vigor

“Tzimon Barto mastered these passages with a meticulate and virtuosic presence. Nevertheless, Prokofiev does not skimp on melody. The work, whose variation movement is initiated by a beautiful, slightly oblique theme, ended in the furious and euphoric Allegro ma non troppo at the same time with a gripping Stretta.”

NWZ Online,27.09.2017, Norbert Czycz
Tzimon Barto, Prokofjew Piano Concoerto No. 3 C major op. 26, Junge Deutsche Philharmonie, Jukka-Pekka Saraste

Finale with Timpani Duel

“A scaled-down orchestra, together with pianist Tzimon Barto, performed Sergei Prokofiev’s famous Third Piano Concerto in C major and thus completely delighted the audience by an enthusiastic and dedicated pianist, who gave a brilliant fireworks display with the orchestra in the three-movement concerto. Prokofiev’s varied and impulsive music was finely played, dramatically interpreted and rapidly intensified. The second movement showed the wonderful technique of the pianist in the various themes; he “literally” lived for his music.”

Black Forest Messenger, 29.09.2017, Wolfgang Limberger
Tzimon Barto, Prokofjew Piano Concerto No. 3 C major op. 26, Junge Deutsche Philharmonie, Jukka-Pekka Saraste

Two Orchestras in Search of a Sound

“The slow movement sounded beautiful, as if played on clouds, and the fireworks of the Finale Barto, a narrator at the piano, brought to sing. Liszt’s Hungarian Rhapsody was he encore. It would be exciting to hear Barto in a solo piano evening in Dortmund.”

Ruhr News, 13.11.2016, Julia Gass
Tzimon Barto, Ravel Piano Concerto G major, SWR Sinfonieorchester, Christoph Eschenbach

Magician on the Keyboard – Tzimon Barto at the Staatsphilharmonie Nürnberg

“His cultured pianissimo is breathtaking, which was confirmed later in the encore with Chopin’s Nocturne in C sharp minor, the jeu perlé traunwandlerisch and the desire to attack unabated: Themagic of Barto’s performance has lostnone of its fascination. The audience in the well-attended Meistersingerhalle was spellbound and applauded tremendously.”

Nürnberger Nachrichten, 24.10.2016, Jens Voskamp
Tzimon Barto, Liszt Piano Concerto No. 2 A major S. 125, Nürnberger Philharmoniker, Péter Halász

Reckless Maneuvers – Tzimon Barto plays spectacularly at the Frankfurter Hof

“It’s not an exaggeration to describe Barto’s style here as spectacular. Many strong and bright color impressions are evoked in the listener, an expressionist painting is created. In the Sarabande in A major, the music moved towards a flame.”

Allgemeine Zeitung Mainz, 25.01.2016, Manuel Wenda
Tzimon Barto, Recital

Safecracker in Baroque Ghost Castle

Master of the finest color: pianist Tzimon Barto amazed and enraptured in the Stadttheater “He does not simply play. No, he savors all the color of a phrase… Rameau is now designed for the harpsichord, so a grand piano sounds too powerful. Barto saves Rameau’s tenderness through an indescribable lingering and through the fragile sequence of sounds that one actually believes to be able to follow the development of the melody, like the unfolding of a flower.”

Nürnberger Nachrichten, 19.01.2016, Reinhard Kalb
Tzimon Barto, Recital

Late Summer Performance

The Philharmonic with Rihm and Bruckner “The string section was transparent, the small brass section got beautiful solos. And almost throughout the soft dynamics, Tzimon Barto’s sensitive fingers nestled into the instrument. He entwines into a floral first slow movement, dreaming away in fin-de-siècle chromaticism, then floats away through a humorously relaxed rondo.”

Süddeutsche Zeitung, 27.03.2015, Michael Stallknecht
Tzimon Barto, Liszt Piano Concerto No 2 A major S. 125, Württembergische Philharmonie Reutlingen, Alexander Soddy

His St. John Passion

“In the Andante of the Second Piano Concerto, a wonderfully intimate dialogue with the singing solo cello is created, and in the finale Barto selects a delicate, fragrant attack as if it were ballet music by Tchaikovsky, feeling his way cautiously forward like a skater checking the fresh ice before he turns his pirouettes.”

Der Tagesspiegel, 25.12.2014, Frederik Hanssen
Tzimon Barto, Brahms Piano Concerto (CD) , Deutsches Symphonie-Orchester, Christoph Eschenbach

Silent in many artistic ways

“[…] Rihm consciously calls the new work his “Second Piano Concerto”: he composes looking back to the history of the genre. He calls the second movement “Rondo”, referring to a Classical model form, but he does not imitate it. Instead, he reinvents it while remaining aware of it. This makes his music both comprehensible and intangible, familiar and disturbing […]. Soloist Tzimon Barto played with exquisite sound and showed the humility to be involved in quiet sound exploration.”

WAZ / NRZ (Culture in Essen), 09.09.2014, W. Häusner
Tzimon Barto, Brahms Piano Concertos (CD), Deutsches Symphonie-Orchester, Christoph Eschenbach

Essen Philharmonic – Christoph Eschenbach Conducts the Season Opener

“[…] Soloist Tzimon Barto brought to life the concerto devoted to him, with little virtuosity, but poetically and pointedly. The American pianist then also let one hear the ‘most exquisite pianissimo imaginable,’ which Rihm particularly admires, in a floating, lightly-dabbed Chopin encore…”

Ruhr Nachrichten, 08.09.2014, Klaus Stübler
Tzimon Barto, Tschaikowski Piano Concerto No. 1 B flat minor op. 23, Gustav Mahler Jugendorchester, Christoph Eschenbach

Concentration, empathy and sound – Mahler Youth Orchestra performed at the Semperoper

“[…] In some ways, Wolfgang Rihm’s Second Piano Concerto included the Romantic language that influenced Messiaen in 1930. Restrained, but very determined at the beginning, soloist Tzimon Barto and Christoph Eschenbach developed with the orchestra a flowing into each other the sounds of piano and instruments, which produced a wealth of colors thanks to the often chamber music qualities. Barto’s performance was filled with variety here. Even in firming movements, rhythmically multi-layered or motor-driven sections he kept his sound in the overall texture of the orchestra. A song-like tone in the last part leads the piano down to a single tone at the end and thus almost back to the starting point […].”

Dresdner Nachrichten, 05.09.2014, Hartmut Schütz
Tzimon Barto, Rihm Piano Concerto No. 2, Gustav Mahler Jugendorchester, Christoph Eschenbach

Honoring Claudio Abbado – The Gustav Mahler Youth Orchestra plays Rihm and Tchaikovsky in the Laeiszhalle

“[…] Rarely has one experienced a piano part so brushed free of effect, and Barto never pushed himself into the foreground. He listened to every bow and fused the timbre of his instrument with those of the solo wind players and solo violinists […].”

Hamburger Abendblatt, 30.08.2014
Tzimon Barto, Rihm Piano Concerto No. 2, Gustav Mahler Jugendorchester, Christoph Eschenbach

All Together for a Composer

“Rihm let Tzimon Barto stroke the keys for the long introduction of the two-part concerto, almost tenderly framed by the colorful, equally gentle dazzling orchestral sound. Even if the pianist does have running fingers for the silvery, brilliant piano part over the entire keyboard, he is unlikely ever to use real power. The finely structured, witty, chamber music piece is downright sensual “feel good music” in the best sense of the word, without Rihm worshiping. Accordingly, the audience celebrated everyone, including Wolfgang Rihm.”

Salzburger Nachrichten, 27.08.2014, Ernst P. Strobel
Tzimon Barto, Rihm Piano Concerto No. 2, Gustav Mahler Jugendorchester, Christoph Eschenbach

Klangdenken – A new piano concerto by Wolfgang Rihm

Lastly, there is this incredible glow. With the dance-like pleasure with which pianist Tzimon Barto played for half an hour without interruption through the ramifications of Wolfgang Rihm’s new piano concerto, he also suggests the lonely, dying final tone. After an alienated, magical D-flat major sound of the strings and a contrasting, seductive A of the harp, the F-sharp in the middle of the keyboard is a summary of the intention of the whole piece: to reconcile lights with laconics, serene seriousness with playful architectonics.

Süddeutsche Zeitung, 27.08.2014, Reinhard J. Brembeck
Tzimon Barto, Rihm Piano Concerto No. 2, Gustav Mahler Jugendorchester, Christoph Eschenbach

Tzimon Barto shines with the Second Piano Concerto by Wolfgang Rihm, carefully accompanied by the Mahler Youth Orchestra and Christoph Eschenbach.

Tzimon Barto has succeeded in no small a feat: a premiere so compelling that one thinks that the pianist has had the work for at least ten years in his repertoire. He moves gracefully through Rihm’s finely woven network of solo voices and often reduced orchestral accompaniment, which was entrusted to the Mahler Youth Orchestra under Christoph Eschenbach. But the composer makes it easy for musicians and audiences to feel at home in the work: easy-to-understand lines, not afraid of thirds and sixths, and the second movement, “Rondo: Allegro ma non troppo”, draws attention in such a thoughtful as playful way from the rich fund of the genre (trilling episodes evoking Beethoven, for example) – and yet remains quite Rihm.

DiePresse.com, 27.08.2014, Helmar Dumbs
Tzimon Barto, Rihm Piano Concerto No. 2, Gustav Mahler Jugendorchester, Christoph Eschenbach

A Real Grand Piano Concerto for the Festival

“… The pianist Tzimon Barto has a piece in his fingers that he can always make heard well. With a contemplative, rather slow movement it is emphasized that the solo part and the richly diversified orchestral movement, which is permeated by catchy woodwind solos, are very closely interwoven. Much hearty applause for the soloist and the composer.”

Wiener Zeitung online, 26.08.2014, Reinhard Kriechbaum
Tzimon Barto, Rihm Piano Concerto No. 2, Gustav Mahler Jugendorchester, Christoph Eschenbach

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