![\"Cover](\"https:\/\/www.konstanze-eickhorst.de\/wp-content\/uploads\/2023\/08\/5555382_cover_www.jpg\")
<\/a><\/p>\n\u201c… Throughout these performances, Konstanze Eickhorst revels in the brilliance of Farrenc\u2019s pianism, overcoming the technical challenges of the outer movements of op.34 with panache; but she never overshadows her colleagues, ensuring the string lines come through the textures.\u201d THE STRAD, November 2023<\/strong><\/p>\n \u201cHere, the assured lead by pianist Konstanze Eickhorst, propels the music forward and the ensemble as a whole capture, project and shed light on even the minor details of the score.\u201d Classical Music Sentinel (Canada), October 2023 \u201c… In short: down-to-earth classical music with a confident signature, excellently recognized and interpreted by the Linos Ensemble.\u201d Musik & Theater, January\/February 2024<\/b><\/p>\n \u201c… het Linos Ensemble bewijst hiermee opnieuw dat het Farrencs kamermuziek in het muzikale hart heeft gesloten.\u201d www.opusklassiek.nl, 19<\/strong>. October 2023<\/strong><\/p>\n \u201cThe Linos Ensemble\u2019s interpretations are chamber-musical in the best sense, balanced in partnership and infused with musicianship. Vital passages are just as pleasing as the lyrical moments. At the piano, Konstanze Eickhorst is a consistently fine performer.\u201d pizzicato, 5. August 2023<\/strong><\/p>\n <\/p>\n \u00bb … I have nothing but admiration for the Linos Ensemble in their expressive warmth and ease of delivery in the entirety of this truly grand composition. … While the piano has plenty to do, it is once again Bertini\u2019s restraint in its use that stands out, considering his pedigree as a performer. …\u00ab MusicWeb International<\/a>, 12\/2021<\/strong><\/p>\n \u00bbDas gefeierte Linos Ensemble hat soeben den franz\u00f6sischen Komponisten Henri Bertini wieder zum Leben erweckt und aus der unverdienten Vergessenheit geholt. Auf seinem neuen, wundersch\u00f6nen Album (Label cpo) feiert es die franz\u00f6sische Romantik mit zwei erstmals aufgenommenen Rarit\u00e4ten. …\u00ab Mundoclasico.com<\/a>, 25. November 2021<\/strong><\/p>\n <\/p>\n \u00bbEverything is marked by highly clear and yet pliable articulation which breathes life into the music. A rejuvenating outlook on Bach’s music and a pleasure to hear.\u00ab Classical Music Sentinel by Jean-Yves Duperron, March 2020<\/strong><\/p>\n \u00bbHer feeling for timbres and poetry, as well as her art of revealing contrapuntal developments, are impressive.\u00ab Pizzicato\/Norbert Tischer, 20.4.2020<\/strong><\/p>\n \u00bbAl met al fraai gerealiseerd en bovendien uitstekend opgenomen!\u00ab opusklassiek by Aart van der Wal, April 2020<\/strong><\/p>\n <\/p>\n (for details please click on cover)<\/p><\/div>\n With a superlative performance and excellent recording set in a perfect acoustic, this is an unexpected and rather delicious discovery which will keep its freshness and beckon with vibrant cheer each time your eyes sweep across those well-stocked CD shelves. Music Web, January 2017<\/strong><\/p>\n <\/p>\n “The Linos Ensemble plays the Sextet in G major op. 58 and the Septet op. 132 in A major with the splendidly extrovert Konstanze Eickhorst on the piano. Both works are covert piano concertos on the scale of chamber music. Konstanze Eickhorst’s playing is both brilliant and full of twinkling humour.” FONO FORUM, January 2015<\/strong><\/p>\n <\/p>\n “Each and every time I’ve come back to these recordings over the past few weeks, I’ve found new things to listen for, new aspects of the music which I had not always heard. Through and through there is a sense of rightness with this recording\u2014it is a quality that is difficult to put into words, but one that one feels when listening to these performances. Though this is my very first exposure to Eickhorst’s art, it will most certainly not be my last.” Scott Norriega, Fanfare, 7\/8 2013<\/strong><\/p>\n <\/p>\n “Derri\u00e8re le titre Mozart en mineur se cache, au fil d’un programme de piano seul ing\u00e9nieux plus de sens qu’il n’y para\u00eet au premier abord, et l’occasion d’une r\u00e9flexion sur le g\u00e9nie propre de Mozart dans la r\u00e9v\u00e9lation d’une intimit\u00e9 qui aurait d\u00fb, selon les codes de la biens\u00e9ance, \u00e9chapper \u00e0 toute exposition publique.” Classique-Info-disc.com, September 2012 <\/p>\n “… it would be invidious to single out any one player yet I do feel that pianist Konstanze Eickhorst needs more than a mention in dispatches. She carries the main weight of the argument and is both a very sensitive accompanist and a strong and domineering soloist when required. She has a magical tone in the more dreamy sections, beautifully captured by the CPO engineers and the whole group plays as if this is some of the greatest music ever penned.” MusicWeb, Dezember 2009<\/strong><\/p>\n “Once again Konstanze Eickhorst is at the keyboard. In the players of the Linos Ensemble she has found a degree of commitment equal to her own. The sound they produce is both full-bodied and brilliant, their phrasing is eloquent, and the recording has a convincing dynamic impetus and balance.” Frankfurter Allgemeine Zeitung, 9 May 2009 <\/strong><\/p>\n “The Linos Ensemble now has another outstanding recording to its credit.” www.klassik.com, May 2009 <\/p>\n “L’excellent Ensemble Linos l\u00e8ve le voile sur deux pi\u00e8ces r\u00e9v\u00e9latrices de Francis Poulenc, dont l’atmosph\u00e8re par moments nostalgique et sombre apporte un contraste avec les m\u00e9lodies charmantes et les traits volubiles et presque clownesques qui peuplent les mouvements rapides. … Tous les instruments se donnent la r\u00e9plique \u00e0 l’aide d’une panoplie de th\u00e8mes nostalgiques et de trucages sonores particuli\u00e8rement r\u00e9ussis. Un tour de force d’\u00e9quilibre que le Linos Ensemble signe avec brio.” pizzicato, 10\/2007<\/strong><\/p>\n <\/p>\n “Konstanze Eickhorst making the most of her concerto-style opportunities to shine in Ries’s intricate and genial piano parts. Warmly recommended.” International Record Review, 10\/2005 “With its flamboyant-heroic piano part and the enemble of violin, viola, cello, double bass, clarinet, horn and bassoon playing an orchestral role, this work is a genuine solo concerto; its opening recalling Beethoven’s Emporer concerto. The Linos-Ensemble play with polish and plenty of dynamic contrast.” Sunday Times, 21\/8\/2005 <\/p>\n “Konstanze Eickhorst is a wonderful guide through these variations. Rather than wow us with brilliant technical displays, she uses an ample tonal palette to illuminate the realtionship of each to the theme. … Eickhorst plays these sensitively, using rubato that seems to develop naturally – it’s never intrusive: on the contrary, it helps to focus the ear on what is essential in the music. Eickhorst is a very effective champion of these pieces …” American Record Guide, May\/June 2004 “A ces oeuvres, il fallait une interpr\u00e8te qui, elle aussi, r\u00e9unirait le brillant de la virtuosit\u00e9 et le raffinement d’une musicalit\u00e9 \u00e9prouv\u00e9e. A cet \u00e9gard, Louise Farrenc ne pouvait \u00eatre mieux servie que par la pianiste Konstanze Eickhorst.” Le Monde de la Musique, 4\/2004 “Konstanze Eickhorst obviously believes in this music, and plays it as such.” International Record Review, 4\/2004 “Konstanze Eickhorst, a Clara Haskil Competition winner who has previously recorded Farrenc’s piano quintets and also Clara Schumann piano music for CPO, has dear sympathy with the material and takes it sometimes considerable technical challenges in her stride. … her eloquent and sensitive shaping of Farrenc’s beautiful Op. 49 Nocturne redeems any excess of enthusiasm elsewhere.” BBC Music Magazine 4\/2004 “Konstanze Eickhorst poursuit son exploration de l’oeuvre de la compositrice – on se souvient des beaux Quintettes avec piano et contrebasse. Elle ma\u00eetrise parfaitement la technique de ce r\u00e9pertoire eigeant; son jeu est virtuose, brillant, expressif, mais sans ostentation.” Diapason, 3\/2004 <\/p>\n
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