It is the rare artist that can take away one’s breath by conjuring the composer’s spirit and sound world through sheer visceral involvement with the...

It is the rare artist that can take away one’s breath by conjuring the composer’s spirit and sound world through sheer visceral involvement with the music. Such is the case with Inon Barnatan’s heartbreaking and poetic rendering of Schubert’s second set of Impromptus, D. 935, the masterpiece that opens the 27-year old Israeli pianist’s debut CD recording. Inon Barnatan is a rising star among pianists of the younger generation. Barnatan’s recent seasons have included appearances at Carnegie Hall, the Concertgebouw, Salla Verdi in Milan, the Royal Festival, Queen Elizabeth and Wigmore Halls in London, the Musilverein in Vienna and the Salle Gaveau in Paris. In past seasons Barnatan has made his debut with the Israel Philharmonic, Netherlands Chamber Orchestra, Orchestre de las Suisse Romande, Jerusalem Symphony, and numerous other ensembles. He has been invited by the Chamber Music Society of Lincoln Center to join the Society’s “Chamber Music Society Two” for the next two seasons.

Born in 1979, Inon Barnatan began playing the piano at the age of 4, making his orchestral debut at age 11. A student of Maria Curcio, he has also received coaching by Leon Fleisher, Radu Lupu, Richard Goode, Murray Perahia, Claude Frank, Menahem Pressler, and Christoph Eschenbach. Barnatan was a prizewinner in the Clara Haskil, Leeds, Porto and Rubinstein competitions, and was the winner of the Classical Recording Foundation’s “2005 Young Artist of the Year” award. This debut CD, a part of Barnatan’s CRF Award, also includes Schubert’s immortal masterpiece- the Sonata in B-flat, D. 960.

R E V I E W S:

Sensitivity, poise and focus – here we have a born Schubertian

"Disarming criticism, 27-year-old Israeli pianist Inon Barnatan tells us in his accompanying note that while entering a formidably competitive field his Schubert has its own voice and validity. Indeed it does. His Impromptus have a special gravity and sensitivity, allowing him to weave his way through every kaleidoscopic mood with a special skill and commitment. What winning ease and naturalness, too, in the A flat Impromptu and how admirable to hear the theme played with such poise and focus instead of a more familiar and damaging telescoping of the rhythm. Elsewhere every detail is touched in yet without a hint of idiosyncrasy or mannerism...In the Impromptus, in particular, Barnatan is a born Schubertian..." -- Bryce Morrison, Gramophone