MENU

Reviews

In Jan Bartoš, virtuosity is coupled with deeply serious musicianship.
Alfred Brendel

 

Jan Bartoš is a very rare type of a musician, a real personality. His performances very much resemble those of Lazar Berman, or the young Sviatoslav Richter.
Ivan Moravec

 

Jan Bartoš is an extremely talented artist, who has already proven his qualities on numerous occasions.
Jiří Bělohlávek
BBC Symphony Orchestra Conductor Laureate and Chief-Conductor of Czech Philharmonic

 

Jan Bartoš has always shown a wonderful talent combined with admirable approach towards any artistic task chosen by, or given to, him. His interpretations always represent a unique marriage of heart and brain and are very touching.
Jakub Hrůša
Chief Conductor of the Bamberg Symphony

 

Jan Bartoš played an impressive set of Preludes by the unjustly neglected Czech composer Miloslav Kabeláč, following it with a compelling reading of Brahms’s F-minor Sonata. This, clearly, is a young pianist to look out for.
Bernard Jacobson

 

Jan Bartoš is the last student of the piano class of legendary pianist Ivan Moravec. On his debut cd dedicated to the memory of Ivan Moravec we can hear the full recording of a recital held at the Martinů Hall on 21 May 2016. It opens with Smetana’s Dreams – a cycle of six programmatic pieces which are largely of a lyrical character – known among pianists for its technical as well as expressive complexity. Jan Bartoš evidently feels very much at home in this sphere of music. The way he plays Smetana is truly magical – his piano playing is at once poetic, lucid, soft, colourful and melodious. His technique is brilliant, however it is not an end in itself – it is always fully devoted to the work and the composer. Already during the very recital, I considered Bartoš’s rendition of Smetana’s Dreams to be one of the most beautiful one I had ever heard and after having listened to the recording I have absolutely no need to revise my impression in any way. On the CD, Smetana’s Dreams are succeeded by a rarity: Sketches for Piano written by conductor Václav Talich. In his delicate interpretation, the short, less than 2 minute long pieces, which are generally in a looser tempo, are definitely much more than a “mere” rarity and are undoubtedly deserving of our attention. The pianist concludes his CD with a grandiose, technically complex Phantasy C major, op. 17 of Robert Schumann. Its first movement was described by the composer himself as “the most passionate piece he has ever created”. However, Bartoš approaches this “passion” in a very delicate and chaste manner. His interpretation is no less lucid than his rendition of Smetana’s Dreams, which does great good to Schumann’s music. Even the second movement, conceived by the composer as a “triumphant march”, is played by the pianist according to the prescribed “energish” instruction, but also with extraordinary elegance. Schumann’s Phantasy surprisingly culminates by a slow movement which resembles a Chopinian nocturno. The listener is bound to revel in the pianist’s velvet-soft touch and softly melancholic atmosphere of this tender “poem in tones”.
Věroslav Němec, Harmonie, January 2017

 

Jan Bartoš opened the evening with the magnificently complex Fantasia in C, op. 17  by Robert Schumann, which places enormous demands on the interpreter both in terms of  technical skills and artistic expression. The first two movements were played with a romantic flair producing a nearly orchestral sound. The lyrical closing movement in its poetic cantabile sound resembled Chopin’s nocturnes… As the second piece came Mozart’s Piano Concerto in A, KV 414… Mozart’s tunes are very rarely heard in such a beautiful and natural cantilena as Mr. Bartoš demonstrated throughout his interpretation… The artist wrapped up his recital with Dreams by Bedřich Smetana. This cycle in six movements ranks among the composer’s most extensive and most difficult piano compositions. It found an excellent interpreter in Jan Bartoš. The pianist played it with evident enthusiasm, full of colours and emotions, with brilliant technique, and applying great imagination and exceptionally convincing rubato – so much so that each movement sounded in his interpretation as a unique, once-in-a-lifetime poetic story.
Harmonie, May 25, 2016

 

The double concerto by Bohuslav Martinů demonstrated an enormous drive proving once again the great power of Prague Chamber Philharmonic’s strings. It was played in style, with evident precision and impeccable technique. The pianist Jan Bartoš’s gentle touch at the piano, and the sensitive entrances of the timpanist Pavel Rehberger significantly contributed to the excellent outcome of the piece.
Harmonie, April 27, 2016

 

This was a number-one event of the whole season. Jiří Bělohlávek with the Czech Philharmonic and Jan Bartoš as the soloist have proven beyond the point that Bohemia still offers world-class performances.
Lidové noviny, June 15, 2015

 

Both the lyrical and emotional spirit of Dvořák’s Piano Concerto in G-Minor were rendered with a rarely seen convincingness by pianist Jan Bartoš. It was an unprompted, spontaneous and unusually warm performance. From the very beginning, his interpretation captivated the audience with its emotional charge and gracefulness.
OperaPlus, June 13, 2015

 

Bartoš is one of the best European pianists. In his own right, the first-class host enchanted everyone with the colorfulness and might of his sound, which he produced with easiness and refined impeccability
Il Roma, June 2014

 

Jan Bartoš is a perceptive, emotional, and sophisticated interpreter
Critica Classica, June 2014

 

Pianist Jan Bartos, violinist Josef Spacek, and cellist Tomáš Jamník are among the most interesting young Czech musicians. Once again, they showcased the quality of their graceful and exquisite collaborative musicianship with each other, granting the audience a notable experience in solo and chamber music.
Harmonie, May 2014

 

The young unorthodox soloist Jan Bartoš turned out a real discovery for the audience. His tone was very interesting. He paid great attention to the dynamic nuances and expression, yet at the same time, his interpretation was very distinctive. He chose a not-so-common approach to the interpretation, and won the hearts with his musicality
Harmonie, June 2013