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text-indent:-18.0pt;} --> </style> <!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman";} </style> <![endif]--><!--[if gte mso 9]><xml> <o:shapedefaults v:ext="edit" spidmax="1032"/> </xml><![endif]--><!--[if gte mso 9]><xml> <o:shapelayout v:ext="edit"> <o:idmap v:ext="edit" data="1"/> </o:shapelayout></xml><![endif]--> </head> <body bgcolor=white lang=EN-US link=blue vlink=blue style='tab-interval:36.0pt'> <div class=WordSection1> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-family:"Times New Roman"'>&nbsp; <o:p></o:p></span></p> <table class=MsoNormalTable border=1 cellpadding=0 width="92%" style='width:92.18%;mso-cellspacing:1.5pt;mso-yfti-tbllook:1184;mso-padding-alt: 0cm 0cm 0cm 0cm'> <tr style='mso-yfti-irow:0;mso-yfti-firstrow:yes;height:7.2pt'> <td colspan=2 style='border:none;padding:.75pt .75pt .75pt .75pt;height:7.2pt'> <h2 align=center style='margin:0cm;margin-bottom:.0001pt;text-align:center'><span style='mso-fareast-font-family:"Times New Roman";mso-bidi-font-family:"Times New Roman"; mso-no-proof:yes'><!--[if gte vml 1]><v:shapetype id="_x0000_t75" coordsize="21600,21600" o:spt="75" o:preferrelative="t" path="m@4@5l@4@11@9@11@9@5xe" filled="f" stroked="f"> <v:stroke joinstyle="miter"/> <v:formulas> <v:f eqn="if lineDrawn pixelLineWidth 0"/> <v:f eqn="sum @0 1 0"/> <v:f eqn="sum 0 0 @1"/> <v:f eqn="prod @2 1 2"/> <v:f eqn="prod @3 21600 pixelWidth"/> <v:f eqn="prod @3 21600 pixelHeight"/> <v:f eqn="sum @0 0 1"/> <v:f eqn="prod @6 1 2"/> <v:f eqn="prod @7 21600 pixelWidth"/> <v:f eqn="sum @8 21600 0"/> <v:f eqn="prod @7 21600 pixelHeight"/> <v:f eqn="sum @10 21600 0"/> </v:formulas> <v:path o:extrusionok="f" gradientshapeok="t" o:connecttype="rect"/> <o:lock v:ext="edit" aspectratio="t"/> </v:shapetype><v:shape id="Picture_x0020_1" o:spid="_x0000_i1025" type="#_x0000_t75" style='width:100pt;height:153pt;visibility:visible;mso-wrap-style:square'> <v:imagedata src="review_files/image001.jpg" o:title=""/> </v:shape><![endif]--><![if !vml]><img width=102 height=155 src="review_files/image002.png" v:shapes="Picture_x0020_1"><![endif]></span><span style='mso-fareast-font-family:"Times New Roman";mso-bidi-font-family:"Times New Roman"'>Reviews Hkon Austb<o:p></o:p></span></h2> <ul style='margin-top:0cm' type=disc> <li class=MsoNormal style='margin-top:0cm;margin-bottom:0cm;margin-bottom: .0001pt;text-align:center;mso-list:l1 level1 lfo3;tab-stops:list 36.0pt'><span style='mso-fareast-font-family:"Times New Roman";mso-bidi-font-family: "Times New Roman"'><a href="#Recent">Recent</a><o:p></o:p></span></li> <li class=MsoNormal style='margin-top:0cm;margin-bottom:0cm;margin-bottom: .0001pt;text-align:center;mso-list:l1 level1 lfo3;tab-stops:list 36.0pt'><span style='mso-fareast-font-family:"Times New Roman";mso-bidi-font-family: "Times New Roman"'><a href="#_Messiaen:_Vingt_Regards">Messiaen: Vingt Regards sur l'Enfant-Jsus</a><o:p></o:p></span></li> <li class=MsoNormal style='margin-top:0cm;margin-bottom:0cm;margin-bottom: .0001pt;text-align:center;mso-list:l1 level1 lfo3;tab-stops:list 36.0pt'><span style='mso-fareast-font-family:"Times New Roman";mso-bidi-font-family: "Times New Roman"'>&nbsp;<a href="#_Messiaen:_Catalogue_d'oiseaux_1">Messiaen: Catalogue d'oiseaux &amp; other</a>&nbsp;<o:p></o:p></span></li> <li class=MsoNormal style='margin-top:0cm;margin-bottom:0cm;margin-bottom: .0001pt;text-align:center;mso-list:l1 level1 lfo3;tab-stops:list 36.0pt'><span style='mso-fareast-font-family:"Times New Roman";mso-bidi-font-family: "Times New Roman"'><a href="#Miscellaneous">Miscellaneous</a><o:p></o:p></span></li> </ul> <h2 align=center style='margin:0cm;margin-bottom:.0001pt;text-align:center'><a name=Recent></a><span style='mso-fareast-font-family:"Times New Roman"; mso-bidi-font-family:"Times New Roman"'><o:p>&nbsp;</o:p></span></h2> <h3 align=center style='text-align:center'>Recent</h3> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><b style='mso-bidi-font-weight:normal'><span style='mso-bidi-font-size:12.0pt; mso-fareast-language:JA'>Aldeburgh Festival 2016<o:p></o:p></span></b></p> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-size:12.0pt;mso-fareast-language:JA'><a href="http://www.austbo.info/"><span style='mso-bidi-font-family:Times; color:#084376;text-decoration:none;text-underline:none'>Hkon Austb</span></a></span><span style='mso-bidi-font-size:12.0pt;mso-bidi-font-family:Times;color:#262626; mso-fareast-language:JA'> completed the sequence with a similarly persuasive combination of tenderness and ferocity in Skryabin, as well as fists and forearms full of notes in three of the Seven Imperatives by his Norwegian compatriot, Rolf Wallin. In the Britten studio acoustic, the piano s elemental reverberance seemed to carry a larger significance.<o:p></o:p></span></p> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-size:12.0pt;mso-bidi-font-family:Times;color:#262626; mso-fareast-language:JA'>The Guardian, June 29, 2016<o:p></o:p></span></p> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-size:12.0pt;mso-bidi-font-family:Times;color:#262626; mso-fareast-language:JA'><o:p>&nbsp;</o:p></span></p> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><b style='mso-bidi-font-weight:normal'><span style='mso-bidi-font-size:12.0pt; mso-bidi-font-family:Verdana;mso-fareast-language:JA'>Chopin Now<o:p></o:p></span></b></p> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-size:12.0pt;mso-bidi-font-family:Verdana;mso-fareast-language: JA'>This simple title is entirely precise. Austb doesn t want to show us the composer of the past, because this is now. This is Chopin with more future than past, because this way of playing him is an attempt to regain a space of possibility for the music, to give it back the excitement inherent in the fact that anything can happen.. it has regained the freedom once lost to tradition and to conventional beauty.<o:p></o:p></span></p> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-size:12.0pt;mso-bidi-font-family:Verdana;mso-fareast-language: JA'>Morgenbladet, April 2015<o:p></o:p></span></p> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-size:12.0pt;mso-bidi-font-family:Verdana;mso-fareast-language: JA'><o:p>&nbsp;</o:p></span></p> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-size:12.0pt;mso-bidi-font-family:Verdana;mso-fareast-language: JA'>Austb goes right to the top in the four Ballades, where his abilities towards the subtle entirely match Chopin s. In the midst of the familiar sounds the almost imperceptible agitatos and appoggiaturas are constantly felt. As a result, the performances reach an ultimate level.<o:p></o:p></span></p> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-size:12.0pt;mso-bidi-font-family:Verdana;mso-fareast-language: JA'>Dagbladet, April 7, 2015<o:p></o:p></span></p> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-size:12.0pt;mso-bidi-font-family:Verdana;mso-fareast-language: JA'><o:p>&nbsp;</o:p></span></p> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-size:12.0pt;mso-bidi-font-family:Verdana;mso-fareast-language: JA'>Austb has an interesting perspective on Chopin, coming from the experimenters and radicals Chopin inspired.. It s yet another strong performance from one of the most underrated pianists around.<o:p></o:p></span></p> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-size:12.0pt'>MusicWeb International, Dec. 2015<o:p></o:p></span></p> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-size:12.0pt'><o:p>&nbsp;</o:p></span></p> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><b style='mso-bidi-font-weight:normal'><span style='mso-bidi-font-size:12.0pt'>The Reflective Musician<o:p></o:p></span></b></p> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-size:12.0pt'>With his project  The Reflective Musician H.A. wants to show the importance of penetrate the works in both analytical and interpretative ways.. to let classical and modern works emerge as new or shed with new light. He demonstrated that thoroughly in his recital.. Austb s playing is to such a degree imbibed with his physical presence on the podium that the audience is immediately captured by it.<o:p></o:p></span></p> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-size:12.0pt'>Stavanger Aftenblad, Oct. 11, 2013<o:p></o:p></span></p> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-size:12.0pt'><o:p>&nbsp;</o:p></span></p> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><b style='mso-bidi-font-weight:normal'><span style='mso-bidi-font-size:12.0pt; mso-bidi-font-family:Georgia;mso-fareast-language:JA'>WANTED<o:p></o:p></span></b></p> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-size:12.0pt;mso-bidi-font-family:Georgia;mso-fareast-language: JA'>With Austb, they (Boulez and Carter) have got a congenial interpreter. His technical mastery of the scores is exemplary, and of the kind that even when we have to do with exceptionally demanding works, he plays himself beyond the technical demands and into genuine music making. We can then hear how his rich though precise sound imagination makes the music live.<o:p></o:p></span></p> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-size:12.0pt;mso-bidi-font-family:Georgia;mso-fareast-language: JA'>Dagbladet, Nov. 4, 2011<o:p></o:p></span></p> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-size:12.0pt;mso-bidi-font-family:Georgia;mso-fareast-language: JA'><o:p>&nbsp;</o:p></span></p> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><b style='mso-bidi-font-weight:normal'><span style='mso-bidi-font-size:12.0pt; mso-bidi-font-family:Georgia;mso-fareast-language:JA'>Aldeburgh Festival 2010<o:p></o:p></span></b></p> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-size:12.0pt;mso-bidi-font-family:Georgia;mso-fareast-language: JA'>Useful as it may be to analyse the mind, musical responses are surely as much about the heart and the gut. Incontrovertible evidence came immediately after the lecture in Norwegian pianist Hakon Austbo s barnstorming performances of two Scriabin sonatas and extracts from Messiaen s <i>Vingt regards</i>.<o:p></o:p></span></p> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-size:12.0pt;mso-bidi-font-family:Georgia;mso-fareast-language: JA'>Financial Times, June 13, 2010<o:p></o:p></span></p> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-size:12.0pt;mso-bidi-font-family:Georgia;mso-fareast-language: JA'><o:p>&nbsp;</o:p></span></p> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><b style='mso-bidi-font-weight:normal'>Debussy: Piano works vol. III<o:p></o:p></b></p> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'>With this recording, a new standard of Debussy playing is established. Austb s recordings have become important references.. A genuine sonic space is created which works almost like magic.. and at the same time there is depth to the music, he expresses himself on all layers, which gives you a fantastic sense of unity. As of today there is probably no Debussy interpreter above Austb. And no one at his side. Congratulations.</p> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'>VG, 20.3.2007</p> <h5 style='margin:0cm;margin-bottom:.0001pt'><span style='mso-fareast-font-family: "Times New Roman";mso-bidi-font-family:"Times New Roman"'><br> Ein Klangfarben-Magier bei Contrapunkt<o:p></o:p></span></h5> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-family:"Times New Roman"'>Der norwegische Pianist Hkon Austb kann Tnen bis in die letzte Schwingung hinein nachlauschen. Er zelebrierte in St. Gallen ein eindrucksvolles Rezital.<o:p></o:p></span></p> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-family:"Times New Roman"'>Grosses pianistisches Ereignis vor kleinem Publikum: Wer vorgestern in der Tonhalle bei Skrjabin die Interpretationen eines Horowitz oder Shukow, bei Messiaens Vogelbchern die Kunst eines Ugorski im Kopf hatte, vergass diese schnell. Hkon Austb zeigte, wie man diese beiden Mystiker und Klangmaler auch spielen kann  unvergleichlich packend und hingebungsvoll.<o:p></o:p></span></p> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-family:"Times New Roman"'>Skrjabins Zehnte Sonate erklang fr einmal nicht mit nur feurigem Zugriff, sondern fast als Reihung von filigranen, vergeistigten Miniaturen. Ein wenig nordisch Mrchenhaftes brachte Austb da hinein, und Farbe in feinster Nuancierung, die sich verdichtete und zerfloss. In jeder Schattierung dieser Triller- und Tremolo-Sonate zeigte Austb alles bis zum feinsten Pinselstrich. In kompromissloser Detailgenauigkeit versprhte der energiegeladen und trotzdem weltvergessen in seine Musik versunkene Norweger eine Virtuositt der Poetik, die Skrjabin einen so noch nicht gehrten, fast verwunschenen Zug verlieh.<o:p></o:p></span></p> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-family:"Times New Roman"'>Extraklasse bewies Austb ebenso bei Messiaen, den er als Verlngerer impressionistischen Gedankengutes darstellte, nicht nur in Cloche d'angoisse et larmes d'adieu aus den frhen Prludes. Extrem farbig, vergeistigt, mit stupender Pianissimo-Kultur durchgestaltet La Bouscarle aus dem Catalogue d'Oiseaux, wobei sich Austb da nicht nur zum begeisternden Erzhler, sondern zum begnadeten Mitsnger dieser naturmystischen Welten erheben konnte.<o:p></o:p></span></p> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-family:"Times New Roman"'>Mit den (samt Zugabe) drei Stcken aus Messiaens Vingt Regards sur l'Enfant-Jsus stellte sich Hkon Austb als Messiaen-Spieler der Premium-Liga vor. Die unvorstellbar schwere Partitur hchst konzentriert im Kopf, mit jeder Geste, jedem Anschlag genau dosierter Farbstrahl und religise Aussage. Der Ausnahmepianist zelebrierte sein Knnen zudem in Farbstcken von Karen Tanaka und Tristan Murail.<o:p></o:p></span></p> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-family:"Times New Roman"'>St Galler Tagesblatt, 11.2.2006<o:p></o:p></span></p> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-family:"Times New Roman"'><o:p>&nbsp;</o:p></span></p> <h5 style='margin:0cm;margin-bottom:.0001pt'><span style='mso-fareast-font-family: "Times New Roman";mso-bidi-font-family:"Times New Roman"'>Debussy: Piano works vol.II <o:p></o:p></span></h5> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-family:"Times New Roman"'>& voici un Debussy glorieux par Hkon Austb, d une intelligence pianistique prcieuse et rare..<o:p></o:p></span></p> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-family:"Times New Roman"'>La ligne directrice de Hkon Austb est aussi risque que limpide: iriser pianistiquement la musique de Debussy sans rien ceder la linarit et la rigueur.. une cole de la rigueur, mais qui, contrairement d autres pianistes  analytiques n est pas une cole de la froideur.<o:p></o:p></span></p> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-family:"Times New Roman"'>& des interprtations qui comptent parmi les plus belles et les plus riches d une discographie charge. Il parvient tablir un  univers debussyste qui relie discrtement entre elles les nombreuses et si diffrentes oeuvres du programme.<o:p></o:p></span></p> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-family:"Times New Roman"'>Dans ce pianisme franc, l expressivit, au sens  atmosphrique du terme, est distill, plus ou moins, selon la nature des compositions, par un toucher trs ractif.<o:p></o:p></span></p> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-family:"Times New Roman"'>Classicstodayfrance<o:p></o:p></span></p> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-family:"Times New Roman"'><o:p>&nbsp;</o:p></span></p> <p style='margin:0cm;margin-bottom:.0001pt'><b>Debussy: Piano works vol.I </b><br> Austb's first release in what is to become a complete set of Debussy's piano music, is a deeply enjoyable experience. Combining dramatic contrast with exquisite finess of sound, magic moments with engaged motion, Austb lets the music glow with renewed strengh, right through the century that has passed since it was brand new. (VG, Oslo) </p> <p style='margin:0cm;margin-bottom:.0001pt'><o:p>&nbsp;</o:p></p> <p style='margin:0cm;margin-bottom:.0001pt'><b>Jubilee recital, Oslo</b> <br> In this respect there is something sovereign about Austb on the podium, not only about the technical virtuosity but also to equal extent about the consistency of the interpreter, about what he chooses from as much as what he achieves. Because Austb is the pianist who doesn't merely achieve what he can, but even more achieves what he wants_ Thus he makes us hear the works he performs in a new way. This is not a bad way to celebrate a jubilee. <br> Dagbladet, Oslo, 19.2.2004 </p> <p style='margin:0cm;margin-bottom:.0001pt'><o:p>&nbsp;</o:p></p> <p style='margin:0cm;margin-bottom:.0001pt'>Looking at the jubilee programme already makes one aware of the pianist's signature. There are thoughts behind: this time a leading thread represented by works from different periods conveying nightly moods_ Hkon Austb shook up and joined the moods yesterday in a modernistic, virtuoso, exquisitely unsentimental grip. 40 years after the debut in the University Hall he carries the same room with a courage and a freshness that many younger pianists lack. This audacity comes forward especially in the French repertoire. Austb stripped Ravel's shimmering, passionate &quot;Gaspard de la Nuit&quot; of veils and mists. Instead, he conjured up clear colours, a strong rhythmic core and a poetic folly that fitted the three movements marvellously_ Schumann's great Fantasy in C, too, errs between painful insanity and profound joy. Austb took care of all its aspects with refinement and force, giving the impression that he is almost improvising the moods_ Few performers combine such deepening with such freshness as Hkon Austb, right through the two encores. Congratulations! <br> VG, Oslo, 18.2.2004 </p> <p style='margin:0cm;margin-bottom:.0001pt'><o:p>&nbsp;</o:p></p> <p style='margin:0cm;margin-bottom:.0001pt'><b>Recital Olavsfestdagene, Trondheim</b> <br> Some performers have the capability to let the music of dead, famous composers come to you as a refreshing novelty. Hkon Austb is one of these. Yesterday, the pianist played Claude Debussy's shimmering &quot;Images&quot; as if they were newly discovered fountains of poetic force. He enchanted the Olav's Hall with unsuspected shadings and surprisingly impertinent contrasts, loosely joint, dancing with life_ (he) emphasized the renewing, venturous Brahms. And he lifted this often somewhat heavy German music up towards brighter, lighter spheres. <br> VG, Oslo, 28.7.2003 </p> <p style='margin:0cm;margin-bottom:.0001pt'><o:p>&nbsp;</o:p></p> <p style='margin:0cm;margin-bottom:.0001pt'><b>Grieg: Piano concerto (original version) with Alexander Vedernikov</b> <br> The soloist is a great virtuoso and an artist with an emanation quite different from Andsnes' who has been the soloist at earlier festivals. Austb is inside his own musical space and disregards anything outside it. It is as though the music hypnotizes him, a condition that he easily transferred to the public at this closing concert. <br> &nbsp;BA, Bergen, 2.6.2003 </p> <p style='margin:0cm;margin-bottom:.0001pt'><o:p>&nbsp;</o:p></p> <p style='margin:0cm;margin-bottom:.0001pt'>_he gave an intensity and an audacity to the solo part that is seldom experienced. Austb is an extremely listening pianist, open to everything that happens in the orchestra surrounding him. And willing to take risks, to put himself and the music at stake in his playing. It is as though nothing is decided on beforehand when he puts his fingers on the keys. He plays with high stakes, with and against the orchestra. It is a risky strategy but it yields great music; in this case one of the most intense and dramatic Griegs we heard since long. <br> Bergens Tidende, 2.6.2003 </p> <p style='margin:0cm;margin-bottom:.0001pt'><o:p>&nbsp;</o:p></p> <p style='margin:0cm;margin-bottom:.0001pt'><b>Recital Festival de Sceaux</b> <br> Invited for the second time, the Norwegian pianist Hkon Austb, especially in Scriabin, revealed himself as one of the major artists of his generation, by the refinement of his fingers, the subtlety of his radiation and the strength of his physical involvement with the instrument. <br> La Lettre du Musicien, Nov. 2002 </p> <p style='margin:0cm;margin-bottom:.0001pt'><o:p>&nbsp;</o:p></p> <p style='margin:0cm;margin-bottom:.0001pt'><b>Rolf Wallin: Seven Imperatives</b> <br> The pianist Hkon Austb sank into hyperconcentration in playing that seeks and finds points of support within a limited harmonic palette; the music swarmed, echoed and dripped its way to a singular beauty. <br> Svenska Dagbladet, Stockholm, 15.11.2001 </p> <p style='margin:0cm;margin-bottom:.0001pt'><o:p>&nbsp;</o:p></p> <p style='margin:0cm;margin-bottom:.0001pt'><b>Grieg: Lyric Pieces (Brilliant)</b> <br> What is striking here is his lavish expressiveness, removing Grieg's pieces firmly from the drawing room and far beyond the amateur's reach. Not that Austb overdoes anything, though his generosity of feeling, immediately evident in the very first piece, as well as his lan and refinement in &quot;Butterfly&quot; and the grandeur which he brings to &quot;Wedding Day at Troldhaugen&quot; all come as a lovely surprise. His playing is warmer, more sincerely ardent than Pletnev's_ It's also technically, pianistically, on the highest level. <br> BBC Music Magazine, April 2002 </p> <p style='margin:0cm;margin-bottom:.0001pt'><o:p>&nbsp;</o:p></p> <p style='margin:0cm;margin-bottom:.0001pt'>Austb is the type of profound musician free from outward ostentation. These qualities also appear in the first recording he made of works by his countryman Grieg_ In Austb's transparent and tasteful playing, command proves an adequate means to provide the music with lasting tension. <br> de Volkskrant, Amsterdam, 25.10.2001 </p> <p style='margin:0cm;margin-bottom:.0001pt'><o:p>&nbsp;</o:p></p> <p style='margin:0cm;margin-bottom:.0001pt'>Marked by simplicity of phrasing, respecting the shape of the melodic lines, as well as by the rhythmical precision of a clear-cut playing devoid of mannerism, Austb's approach restitutes all the expressive diversity and authenticity of these short pieces _ this splendid recording of Hkon Austb deserves the warmest recommendation. <br> Rpertoire, Aug. 2002 </p> <p style='margin:0cm;margin-bottom:.0001pt'><o:p>&nbsp;</o:p></p> <p style='margin:0cm;margin-bottom:.0001pt'>His instrument, with a very warm sonority, sings with elegance and simplicity, without harshness but with vigor, without excessive effects but still not getting prosaic; this results in a stirring poetry, a particular tenderness that illuminate even the most naive of these pieces. <br> Diapason, Oct. 2002 <br> &nbsp; <br> &nbsp; </p> <h3 align=center style='margin:0cm;margin-bottom:.0001pt;text-align:center'><a name="Messiaen:_Vingt_Regards_sur_l'Enfant-J_s"></a><a name="_Messiaen:_Vingt_Regards"></a>Messiaen: Vingt Regards sur l'Enfant-Jsus</h3> </td> </tr> <tr style='mso-yfti-irow:1;mso-yfti-lastrow:yes;height:624.2pt'> <td style='padding:.75pt .75pt .75pt .75pt;height:624.2pt'></td> <td valign=top style='padding:.75pt .75pt .75pt .75pt;height:624.2pt'> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-family:"Times New Roman";mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_3" o:spid="_x0000_i1026" type="#_x0000_t75" style='width:336pt; height:597pt;visibility:visible;mso-wrap-style:square'> <v:imagedata src="review_files/image003.jpg" o:title=""/> </v:shape><![endif]--><![if !vml]><img border=0 width=338 height=599 src="review_files/image004.png" v:shapes="Picture_x0020_3"><![endif]><!--[if gte vml 1]><v:shape id="_x0000_i1027" type="#_x0000_t75" style='width:311pt;height:624pt; visibility:visible;mso-wrap-style:square'> <v:imagedata src="review_files/image005.jpg" o:title=""/> </v:shape><![endif]--><![if !vml]><img border=0 width=313 height=626 src="review_files/image006.jpg" v:shapes="_x0000_i1027"><![endif]></span><span style='mso-bidi-font-family:"Times New Roman"'><o:p></o:p></span></p> </td> </tr> </table> <h4><span style='mso-fareast-font-family:"Times New Roman";mso-bidi-font-family: "Times New Roman"'>Austb is God<o:p></o:p></span></h4> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-family:"Times New Roman"'>Performances in the quality class 'unsurpassed to historic' are rarities. Messiaen qualified the way in which Hkon Austb performs his music as ideal. And that was evident on Monday evening: not only because Austb studied with Messiaen's wife Yvonne Loriod. <br> The music of Olivier Messiaen is full of symbolic meaning. Sounds refer to colours, colours to significations and numbers to the Creation. <br> In other words: whoever can interpret this music the way its (earthly) creator meant it to be, is in some way a prophet himself. <br> Hkon Austb is a skinny fjordman with a blond moustache and a watery gaze. But when he takes his place behind the piano something changes. Gaiety disappears in a deliric trance, rigidity in a luminous, sheer inhuman stream of concentration. Austb takes the role of a medium and becomes an intermediary of the music's significance. This requires an unconditional abandon to the music, to be met exclusively with unconditional approval. When Austb plays, another interpretation is absolutely unthinkable. <br> The piano cycleVingt regards sur l'enfant Jsus consists of twenty movements about, roughly, the Creation of the Universe and the Jesus child. Austb performed the 120 minutes of structurally and psychologically involved music without a single flaw, in itself an almost unfeasible accomplishment, since all pianistic qualities have to be constantly available. Big bangs of the old testament (fortissimo) suddenly but smoothly transform into sweetnesses of the new testament (pianissimo). And all colours of the rainbow need to find their musical counterpart in one single instrument, requiring the pianist to conjure up an orchestral sound from his instrument. <br> Hkon Austb bended effortlessly to all musical turns, from the emphatically erotic to the celestially sereen, but in exchange he had to hand in his soul.. with the last note the trance broke and Olivier Messiaen and the Jesus child again became simply Hkon Austb, an introvert pianist, somewhat bewildered receiving his ovation. <br> <i>Mischa Spel - Het Parool (Amsterdam)</i> <o:p></o:p></span></p> <h5><span style='mso-fareast-font-family:"Times New Roman";mso-bidi-font-family: "Times New Roman"'>(Festival Musica Sacra)<o:p></o:p></span></h5> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-family:"Times New Roman"'>The culmination of the festival, though, was not all this gorgeous old music. Pianist Hkon Austb played Messiaen's <i>Vingt Regards</i> in a marathon session from eleven to one thirty at night he played out these emotions in all their gradations, he established musical connections and brought unity into Messiaen's vivid style. For the chosen ones present, this performance probably came closest to the sacred experience aimed at in this Maastricht festival. <br> <i>Paul Luttikhuis - NRC Handelsblad (Amsterdam)</i> <o:p></o:p></span></p> <h4><span style='mso-fareast-font-family:"Times New Roman";mso-bidi-font-family: "Times New Roman"'>Austb opens all registers<o:p></o:p></span></h4> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-family:"Times New Roman"'>Performed anywhere in the world the concert would have brought about a sensation. And so it was, indeed, for those present on Sunday evening when Hkon Austb played Messiaen's two hour cycle <i>Vingt Regards sur l'Enfant-Jsus</i>. <br> I heard the work myself at several occasions and with first class musicians but never experienced anything close to what Austb achieved on Sunday. <br> Already the colour of chopinesque melancholy in the beautiful opening movement, followed by ravelian refinement in the second, signalled something unusual, in a business where the specialists of each composer easily lose their grip on the personal recreation and end up resembling each other completely. <br> But not Austb. We heard him playing with all registers open, relying upon a lifetime's musical experience and concentrate this with violent force into an unequalled performance. <br> The appearance of the frail, birdlike figure was a fairy tale in itself, as it gathered all its energy into producing sounds you would hardly consider possible on a concert grand. Thus he didn't just play up to the extasy of the work, a term worn out by its overuse referring to Messiaens cascades of notes. He also managed to get these back to the finest nuances of the music and sing them with restrained force, intensely beautiful and stretched into infinity. <br> There is much talk about the joy at the rich accretion of Norwegian musicians in the last years. However, this joy is substantially deepened through the secret jubilation at performers of Austb's stature, repeatedly setting a standard that others may reach for. <br> <i>Stle Wikshland - Dagbladet (Oslo)</i> <o:p></o:p></span></p> <h4><span style='mso-fareast-font-family:"Times New Roman";mso-bidi-font-family: "Times New Roman"'>King Hkon of the keyboard<o:p></o:p></span></h4> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-family:"Times New Roman"'>Strangely enough, until Sunday night, he never performed the entire cycle of Messiaen's twenty meditations. Late, but in return, magnificent! For years to come, this royal performance will stand as something of a reference for the happy ones present. For me it joins up with inextinguishable memories of Austb at his sovereign best - Ravel's Left hand concerto in 'Konserthuset' a couple of years ago, or Carter's Night Fantasies at the Bergen Festival in '89. <br> Austb's virtuosity was dazzling, total. But it never became a goal in itself. It was fascinating to hear how, at the dizzying heights of technical bravura, he still kept control and completely realised the subtlest gradations of rhythm and tone. The performance was a fabulous synthesis of boundless virtuosity and musical uprightness, and the enthusiasm of the audience was accordingly. <br> <i>Harald Kolstad - Arbeiderbladet (Oslo)</i> <o:p></o:p></span></p> <p>This is one of the finest sets of Vingt Regards available: Austbo can be hypnotic with his rhythmic control of these very difficult pieces, but he is not a show off either, and his slow phrases 'breathe' very naturally and patiently. <br> <i>American Record Guide</i> </p> <p>Several complementary virtues conspire to make this recording by the Norwegian pianist Hkon Austb by far the most satisfying Vingt regards sur l'enfant Jesus in the current catalogue <br> <i>Classic CD 'Collector's Choice'</i> </p> <p>Austb's gentle intensity catches the music's extraordinary atmosphere and his moments of percussive boldness get the dramatic writing a grippingly strong profile Recommended without reservation <br> <i>Classic CD</i> </p> <p>An extremely impressive achievement, in short, and an essential part of any Messiaen-admirer's collection. <br> <i>MEO - Gramophone</i> </p> <p>Hier erlebt man das Klavier als Instrument der Bekenntnis: Eine der wenigen mitreienden, gleichwohl detaillierten Aufnahmen eines groformatigen Zyklus, bei denen man nicht den Eindruck hat, es wrde ornithologische und spirituelle Schwerarbeit verrichtet. <br> <i>Peter Coss - Fono-Forum</i> <br> &nbsp; <br> &nbsp; </p> <h3 align=center style='text-align:center'><a name="Messiaen:_Catalogue_d'oiseaux"></a><a name="_Messiaen:_Catalogue_d'oiseaux_1"></a><span style='mso-fareast-font-family: "Times New Roman";mso-bidi-font-family:"Times New Roman"'>Messiaen: Catalogue d'oiseaux<o:p></o:p></span></h3> <h4><span style='mso-fareast-font-family:"Times New Roman";mso-bidi-font-family: "Times New Roman"'>Austb interprets master Messiaen<o:p></o:p></span></h4> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-family:"Times New Roman"'>Austb has gone a long way in his approach to Messiaen's musical spheres. The painstaking exactness in Messiaen's notation enables Austb to create an interaction between temporal aspect, timbre and dynamics that gives a comprehension of space and movement. Austb embraces the listener; the distance between podium and hall is minimized and contributes to a lasting intimate contact that holds one spellbound. <br> <i>Idar Karevold - Aftenposten (Oslo)</i> <o:p></o:p></span></p> <p>What else can be said about Austb's playing than that he lets time and space constitute a higher unity? _ Austb takes possession of the entire instrument like an eagle sustained by the air currents, and with his enormous wing-span paints landscapes which carry you up and far away from the little venue_ By means of resonances out of this world, Austb totally released the poetry of this music and thus fortified his position as the foremost interpreter of this monumental work. <br> <i>Hjalmar A. Kjelsvik - Vrt Land(Oslo)</i> <br> &nbsp; </p> <h4><span style='mso-fareast-font-family:"Times New Roman";mso-bidi-font-family: "Times New Roman"'>Austb on excursion through Messiaen's bird paradises<o:p></o:p></span></h4> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-family:"Times New Roman"'>The pianist Hkon Austb is a great Messiaen player but few people know this except maybe those who know his performance of the <i>Vingt Regards sur l'Enfant-Jsus</i> on the budget label Naxos. <br> Austb, a Norwegian living in the Netherlands, plays the same cycle on Tuesday in Utrecht and there is reason to have high expectations to that performance. Austb was coached long ago in the subtleties of Messiaen's piano works by Messiaen himself and his first interpreter, the pianist Yvonne Loriod. His performance - of greater contrasts than that of Loriod - makes evident that Austb isn't content with imitation but keeps up his own, distinguished style. <br> Of equally great interest is the result of Austb's excursion through the bird reserves of Messiaen, named <i>Catalogue d'oiseaux</i> and <i>Petites Esquisses d'oiseaux</i>. Certainly when you consider the fact that this is one of the most problematic segments of Messiaen's work. <br> It is a world of sounds as intriguing as that of the Stockhausen <i>Klavierstcke</i>, and as hard for the pianist to penetrate. Austb seems to do that with the greatest ease, separates the primary from the secondary, transverses the entire skyline during half an hour with <i>La rousserolle effarvatte</i> and at that gives a strong profile to the sonorous possibilities of the piano. <br> <i>Roland de Beer - de Volkskrant (Amsterdam)</i> <o:p></o:p></span></p> <h4><span style='mso-fareast-font-family:"Times New Roman";mso-bidi-font-family: "Times New Roman"'>Hkon Austb plays formidable Messiaen<o:p></o:p></span></h4> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-family:"Times New Roman"'>Hkon Austb is working on an impressive Messiaen cycle. After the <i>Vingt Regards sur l'Enfant-Jsus</i> now the release on three cd's the monumental, more than two hour lasting<i>Catalogue d'oiseaux</i>, in which the composer transcribed bird calls to piano sounds. It is a striking recording that easily matches those of the large companies. <br> <i>Thiemo Wind - de Telegraaf (Amsterdam)</i> <o:p></o:p></span></p> <p><b>My disc of the year: </b>Definitely a three-disc Naxos set of Olivier Messiaen's mighty piano cycle <i>Catalogue d'oiseaux</i>, 13 movements based on the calling-sounds of different birds, which together constitute one of the undoubted maserpieces of twentieth century keyboard literature. Hkon Austb is the soloist, and his great achievement was to vividly project the extraordinary range of touch and colour in these pieces without ever over-advertising the extremities of their virtuosic demands. <br> <i>Terry Blain - Classic CD</i> </p> <p>...ainsi la somptuosit de la sonorit de Hkon Austb, grce une utilisation magistralement conduite de la prcision des attaques et des prolongements harmoniques de la pdale, offre-t-elle aux models &quot;decrescendos&quot; des nuances nimbes d'une aura sensuelle quasi magique. Et tout cela cependant dans la clart d'un discours savamment construit. Ainsi n'est pas oubli mais magnifi le ct charnel profond de Messiaen. Le climat de <i>La chouette hulotte</i> ou de <i>l'Alouette lulu</i> par exemple en porte tmoignage. <br> <i>Jean Hamon - Rpertoire</i> </p> <p><b>A further recording from a master Messiaen interpreter, Haakon Austbo, in a mixed programme that calls for all his colouristic control</b> </p> <p>Discussing previous volumes in this series, I've mentioned Austb's subtle palette of keyboard colour, and his sensitive feeling for Messiaen's characteristic silences. I should have remarked - and it's evident here throughout the <i>Prludes</i> especially - upon his ability to produce different degrees of dynamic simultaneously, without the quieter elements ever being overwhelmed. It adds an almost three-dimensional quality to his sound. Which is not to say that his playing is ever austere or dry; indeed its primary characteristic is sheer tonal beauty, emphasised by what sounds like a very fine piano in a pleasing acoustic (that of St Martin's Church, East Woodhay). <br> More spectacular pianism is called for in the vivid colours and juxtapositions of <i>Cantyodjay</i>, of course, and Austb provides it in fine measure, but even here sheer beauty of sound seems to have been a high imperative. <br> Messiaen has been very fortunate in his keyboard interpreters. Austb is among the best of them, and to have such playing available at such a low price is a cause for grateful rejoicing. <br> <i>Michael Oliver - Gramophone</i> <br> &nbsp; <br> &nbsp; </p> <h3 align=center style='text-align:center'><a name=Miscellaneous></a><span style='mso-fareast-font-family:"Times New Roman";mso-bidi-font-family:"Times New Roman"'>Miscellaneous<o:p></o:p></span></h3> <h5><span style='mso-fareast-font-family:"Times New Roman";mso-bidi-font-family: "Times New Roman"'>(Mozart K.V.453)<o:p></o:p></span></h5> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-family:"Times New Roman"'>Austb belongs to the very foremost of Norwegian pianists, which in spite of this national reservation means quite a lot. It is rare to hear such richness of touch and sonority as with Austb, where everything is at the service of the musical expression. Pianissimo passages are played around with in a way that only the the best can achieve. The concerto is in fact quite complex in its expressiveness, and this was rendered maximally_Such things generate music. This magic shading was not less present in the encore (Schoenberg). <br> <i>Trond Arne Pettersen - Adresseavisen (Trondheim)</i> <br> &nbsp; <o:p></o:p></span></p> <h4><span style='mso-fareast-font-family:"Times New Roman";mso-bidi-font-family: "Times New Roman"'>The year's best - but where was the audience?<o:p></o:p></span></h4> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-family:"Times New Roman"'>30 years ago the teenager Hkon Austb made his debut as a pianist. Long shall last the talking about the jubilee yesterday in Aulaen. <br> It was beyond comparison the best concert I heard this year. Not because it was technically polished but because it never was about music as show-off. <br> Where others don't surpass surface finishing, Austb penetrated far beyond production of sound. The music turned into what it should be: a statement. From thought to soul, from podium to audience, from another time to ours. Here common figurations in Olav Anton Thommessen and Debussy mingled effortlessly - while Schumann sounded more modern than the Frenchman. <br> Debussy requires all but percussive touch - the result may be monotonous but not with a variety of sound like Austb's. Just as he is leading us to the innermost meditation, like the light streaming through a church window, the left claw may strike so suddenly as to give you a thump in the diaphragm. Or he conjures up fragments and reminiscences of Brahms like a sail extended in universe. Or, like in the seventh Prelude where the vision debouches into four wandering, lighting bell-tones, as a mirror of the rune structures in Thommessen. <br> It is rather rare for twelve preludes to cause continuous breathlessness. &quot;Fireworks&quot;, often played with virtuoso splendour la Liszt, was now rendered in vibrating tension. On the other hand Austb put silence to those who disdainfully characterise the most improvisatory, fragmented preludes as empty formulas. &quot;Feuilles mortes&quot; as well as &quot;Canope&quot; now became lighting summits, preceding an almost shockingly subtle Schumann after the interval. <br> <i>Yngvild Srbye - Dagbladet (Oslo)</i> <o:p></o:p></span></p> <h5><span style='mso-fareast-font-family:"Times New Roman";mso-bidi-font-family: "Times New Roman"'>Schumann: Kreisleriana op. 16. Fantaisie op. 17. Arabesque op. 18.<br> Vanguard.<o:p></o:p></span></h5> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-family:"Times New Roman"'>Hakon Austb nous avait blouis jadis travers des microsillons Saravah (Janacek, Scriabine). Ce disque confirme l'excellence de cet artiste. L'interprtation d'Hakon Austb supporte la comparaison avec les plus grandes. Dans la 4e pice, il vous transperce le cur de ses plaintes 1'gal de M. Argerich, et dans la 6e, il sidre par ce ton tour tour intime, incantatoire, fantastique, visionnaire, tortur... <br> Le jeu d'Hakon Austb est simple: sans affteries, il va droit l'essentiel, de l'emportement grandiose aux plaintes dchirantes des sections <i>Adagio</i> du mouvement initial... son jeu est toujours juste, d'un ton vraiment schumannien, et toujours mouvant, mme dans le moindre passage apparemment secondaire du &quot;Moderato&quot;, qui prend des allures d'pope 1gendaire. Et que dire de son toucher arien, potique, qui fait chanter les premires pages de l'<i>Adagio</i> final comme presque personne avant lui, qui en fait jaillir une mlodie profonde et bouleversante, l o d'autres ne droulent que des mornes arpges? <br> <i>Philippe van den Bosch - Rpertoire</i> <o:p></o:p></span></p> <h4><span style='mso-fareast-font-family:"Times New Roman";mso-bidi-font-family: "Times New Roman"'>Reflection and ecstasy<o:p></o:p></span></h4> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-family:"Times New Roman"'>A sigh went through the Grieg hall on Thursday as Hkon Austb put his fingers on the keys and opened the third Bartok piano concerto. Everyone knew something great was about to happen, that this was going to be one of those rare evenings when the soloist doesn't just render the music but creates it anew, whereas we - the audience - are taken into the process and may experience the work from inside. <br> In the performance of Bartok's ultimate piece Austb put himself on the edge of the knife, in a breathtaking balance between strong control and generous freedom. He has transcended all technical problems, he knows and masters this complex piece, and his playing possesses a translucent clarity. But it is also constantly trembling with high tension, almost nervously strained. The sovereign mastery of all details gives him the margin to undertake a continuous dialogue with the work - and with the orchestra and the hall: He listens intensively to every little nuance, the most minim change of mood, ready to correct and to give shape, to counteract and to consolidate. And he moves unhindered, with unyielding musical logic, from the breathless prayer in the Adagio religioso of the second movement to the rhythmical ecstasy in the fast, stamping third. <br> <i>Peter Larsen - Bergens Tidende (Bergen, Norway)</i> <o:p></o:p></span></p> <h4><span style='mso-fareast-font-family:"Times New Roman";mso-bidi-font-family: "Times New Roman"'>Rare artistry leaves listeners spellbound<o:p></o:p></span></h4> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-family:"Times New Roman"'>It is not often that one gets to hear a pianist whose performance leaves a lingering impression upon the listener's senses. Haakon Austbo is just such a pianist. <br> From the first note that he struck. he held the listener spellbound. His charisma and intense personality infused even the pauses within the music, accordingly now dramatic, now dreamy, now waiting, now tense. And then galvanised by some hidden, inner energy, his hands would encompass the entire keyboard in the fast and furious passages as well as coax the sweetest of sounds in the most delicate of music phrases. <br> <i>Flavia De Souza - New Straits Times (Kuala Lumpur)</i> <o:p></o:p></span></p> <h5><span style='mso-fareast-font-family:"Times New Roman";mso-bidi-font-family: "Times New Roman"'>(Gewandhaus Leipzig)<o:p></o:p></span></h5> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-family:"Times New Roman"'>Das Griegsche Klavierkonzert gehrt lngst zu den Publikumsfavoriten und lste strrmischen Beifall aus, auch dank der musikalisch erfllten und technisch berlegenen Gestaltung mit dem Norwegischen Pianisten Hakon Austb. Er begann mit elementarem Zugriff und stellte der virtuosen Erffnung das elegische Hauptthema mit zarter Klanggebung entgegen. Diese Differenzierung zeichnete die Auffhrung insgesamt aus. berlegen fhrte Paavo Berglund als gern willkommen geheiener Gastdirigent das Orchester. <br> <i>Leipziger Volksblatt</i> <o:p></o:p></span></p> <h5><span style='mso-fareast-font-family:"Times New Roman";mso-bidi-font-family: "Times New Roman"'>(Messiaen: Turangalla Symphonie, Kln)<o:p></o:p></span></h5> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-family:"Times New Roman"'>Vor dem Hintergrund der weit ausschwingenden Linien im Orchester steht vor allem der virtuose Klavierpart fr das Moment der Bewegung ein. Hakon Austb versah ihn mit diskreter Brillianz. <br> <i>Stefan Rtter, Klner Stadt-Anzeiger</i> <o:p></o:p></span></p> <h4><span style='mso-fareast-font-family:"Times New Roman";mso-bidi-font-family: "Times New Roman"'>Un interprte raffin<o:p></o:p></span></h4> <h5><span style='mso-fareast-font-family:"Times New Roman";mso-bidi-font-family: "Times New Roman"'>Scriabine et Messiaen, une interprtation magistrale de Hkon Austb Bogliasco<o:p></o:p></span></h5> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-family:"Times New Roman"'>lnterprte de profondes et trs raffines recherches introspectives sur Skrjabin, protagoniste de l'affleurement pur et vierge du tissus constitutif (ce qui permet d'entendre de nouvelles sonorits insouponnes), il met mticuleusement en vidence la complexit architecturale des critures scriabiniennes. <br> (Messiaen) Rendre avec cohrence, avec une pareille solidit technique, une lucidit explicative et totale, avec un engagement motif pouss (sans que ce dernier ne prenne le dessus sur 1'excution) est une russite artistique rare, qui place le pianiste Austb aux sommets de l'interprtation des matres du vingtime sicle. <br> <i>G.D.M. - Il Secolo XIX (Genova)</i> <o:p></o:p></span></p> <h5><span style='mso-fareast-font-family:"Times New Roman";mso-bidi-font-family: "Times New Roman"'>(Stavanger chamber music festival)<o:p></o:p></span></h5> <p class=MsoNormal style='margin:0cm;margin-bottom:.0001pt'><span style='mso-bidi-font-family:"Times New Roman"'>There were performances which one will remember for years to come: .. revelatory, flaming performances of Scriabin by pianist Hkon Austb <br> <i>Hilary Finch, The Times (London)</i> <br> &nbsp; <o:p></o:p></span></p> <h3 align=center style='text-align:center'><span style='mso-fareast-font-family: "Times New Roman";mso-bidi-font-family:"Times New Roman";mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_2" o:spid="_x0000_i1028" type="#_x0000_t75" style='width:158pt; height:134pt;visibility:visible;mso-wrap-style:square'> <v:imagedata src="review_files/image007.jpg" o:title=""/> </v:shape><![endif]--><![if !vml]><img border=0 width=160 height=136 src="review_files/image008.png" v:shapes="Picture_x0020_2"><![endif]></span><span style='mso-fareast-font-family:"Times New Roman";mso-bidi-font-family:"Times New Roman"'><a href="http://www.austbo.info/">home</a><o:p></o:p></span></h3> </div> </body> </html>