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Der Raum der Zeit um 1912

Klavierkonzert an der Hochschuke für Ev. Kirchenmusik


Frei nach Kafka: Musik istwie die Axt für das gefrorene Meer in uns. Dieser Satz mochte manchem der bewegten Zuhörer eingefallen sein, als Gilead Mishory Leos Janaceks "Im Nebel" spielte. Was für ein Beginn, dieses Andante! Nicht allein, dass er den Zyklus technisch vollkommen in den Konzertsaal der Hochschule für Evangelische Kirchen-musik schickte - er als Professor der Freiburger Musikhochschule sollte ja wohl wissen, wie man die Töne adäquat zuspielen hat. Mehr als PDF

Frank Piontek, Nordbayerischer Kurier, 01 2015


Beethoven Klavierkonzert Nr.1

Mit dem Orchester Kempten


Nach wenigen Anschlägen war den Zuhörern klar, auf welch hohem Niveau Mishorys Spiel angesiedelt ist. Er spielte Beethoven so leibhaftig und emotional, dass man darüber fast seine vorzügliche Technik und Interpretation des Werks vergaß. Der Funke der Begeisterung sprang auch auf das Orchester über, welches sich hörbar wohl fühlte im Zusammenspiel mit dem Solisten. Auf das schwungvolle Schlussrondo folgte ein nicht enden wollender Applaus des Publikus. „Haben Sie noch fünf Minuten Zeit“ fragte Mishory verschmitzt, und bedankte sich mit seiner originellen Eigenkomposition „Cloches de joie et larmes de rire“ (Freudenglocken und Lachtränen) beim Publikum.

Kreisbote Kempten, 29.11.2014


Gilead Mishorys 'Psalm' for cello and piano

Festival 'Junge Kunst' in Volkenroda, Germany

Der Lette Juris Teichmanis spielt, begleitet von Hansjacob Staemmler am Flügel, den 2003/2004 entstandenen „Psalm“ für Violoncello und Klavier von dem Pianisten und Komponisten Gilead Mishory. Das mehrsätzige Werk pendelt zwischen Meditation und Leidenschaft, wartet in einem traumhaft versonnenen dritten Satz mit zartem Flageolett auf und lebt nicht zuletzt von den reizvollen Tonhöhenkontrasten zwischen Cello und Klavier. Nach allem Schwelgen, Aufbäumen und Träumen verklingt der letzte Celloton im Pianissimo. Ein hinreißend schönes modernes Werk, bei dessen Interpretation das singende Cello und der einfühlsam gestaltete Klavierpart so etwas wie eine harmonische Einheit der Individuen gefunden haben.

Dieter Albrecht, Thüringer Allgemeine


Mishory played fascinatingly his own pieces, as well as the works by Debussy. Dynamically and with delicate beauty.

Ken Fukumoto, 'Ongaku-no-Tomo', Tokyo, August 2012



Magic we only know from the Old Masters

Janácek-Project Tonhalle Düsseldorf

 

Mishory's special touch let the audience sit up and listen. The differentiated emotional sound produced the impression as being transmitted less by intellect than by physical movement. It was as if he had music in his hands. Such magic used to come only from the old masters of the piano. Colourful nuances, jubilation or melancholy. Nothing seemed to be calculated but developed from the emotional relationship with the work. Seldom seemed virtuosity so natural and like born out of the moment. Such genuine esprit was perhaps last felt in Arthur Rubinstein's playing.

Westdeutsche Zeitung


Di vayte haymat mayne - First performance

Song-cycle for tenor and orchestra
after poems by Marc Chagall

Gärtnerplatz-Theater, Munich, 9.7.2007

Composer: Gilead Mishory
Orchestra Jakobsplatz
Conductor: Daniel Grossmann
Solist: Berthold Schmid

For further informations see Compositions

Orchestra Jakobsplatz - Great Musical Expression

It is an eerie sound and builds a contrast to the previous piece by Ligeti based on traditional Hungarian folk dances. The first performance of Gilead Mishorys "Di vayte haymat mayne" at the Gärnterplatz-Theater is shaped by great compositional and interpretive emotional expression. Yiddish poems written by Marc Chagall form the basis of these songs for tenor and orchestra. The tenor Berthold Schmid brings them as a tormenting intuition of death - whispering, pleadingly screaming.

This composition contains great musical expression: The orchestra undergoes eruptive abrupt changes in timbre, sounding at times like a sinister nightmare figure wanly grumbling or at times in biting dissonance. Even while playing forte, there appears to be a state of fearful silence, which yet gives room more and more to an increasingly manic, percussive moment. Such musical expression is evidence of the composers extremely convincing textual interpretation and instrumental handling, which the Orchestra Jakobsplatz and the conductor Daniel Grossmann are able to match up to with high level of playing.

... grandiose impression.

Andreas Pernpeitner, SZ, July 13th, 2007


Here is proof that Mozart's music is talking

Piano-concerto in d-minor KV466 with the
Cottbus State Orchestra

 

Mozart's piano concerto received a fascinating and extremely deep interpretation. This work is only seldom heard in such an intellectually well-weighed and yet musically exemplary way as the phenomenal Gilead Mishory performed it. Mishory's touch let the notes sound like pearls, and gave to every one of them its particular significance. There were incredible nuances (pedal-technique!), an eloquent dialogue. Here we heard the proof that music, at least Mozart's music, is speaking, or even talking: in the cadenzas, the first one by Beethoven, the second by the soloist himself, sounding like an inward monologue, otherwise as a dialogue with the orchestra, where at the end the entire spellbinding drama is transfigured into a joint smile.

Lausitzer Rundschau


A fantastic pianist and a fabulous orchestra

Ravel Concerto for the left hand

Philharmonic Orchestra of Thuringia

Gilead Mishory belongs to the category of soloists who are not available by the dozen. He is unique and you would certainly love to meet him again. A musician in the best sense of the word: unconventional, modern and full of temperament. Somebody who accentuates his very individual interpretation of a work, subjecting musicianship to soul. So as to say: Technique, what is that?

Freies Wort


Masterpieces of musical virtuosity

Piano recital


Always changing, Mishory combined one of Schubert's 'Moments' with his own 'Rega'im' (moments). Changes were often smooth and not only those intelligently built-in Schubert quotations and associations into his own music gave the listener the impression it couldn't be any different. In his first two 'Rega'im' Mishory worked on the lines of similar characters whereas in the last ones he put more emphasis on contrast. Sometimes in a rather melodious way, sometimes distinctly rhythmical in character, Mishory's 'moments' developed into a play full of expectations, opening doors of thought in order to push them closed immediately. With the joint clapping of hands thoughts of the marquee, flamenco rhythms and African drums, even the sound of pop-concerts were in the air. But then concentrated finger snapping brought you back into the concert hall. A daring, self-confident but above all a successful experiment. The audience thanked Mishory with long and emphatic applause.

Acher-Rench-Zeitung

About Mishory's new Cycle 'Rega'im' with
Schubert's 'Moments Musicaux'

The composer-pianist proved himself a sound-designer and first-rate technician, who eagerly uses the modern piano's entire width of dynamical possibilities. The audience liked the 'Rega'im' (Moments), which were performed with accuracy and joy of musicianship. Furthermore, the Schubert pieces which were woven between them, mostly with fine, lyrical sound, could time and again relieve the intensified emotions, and were interpreted from a totally different point of view of understanding of the musical moment.

Münchener Merkur


Haydn's Sonata Hob. 52

From the same recital-programme


Rightly famed as genious, Mishory's interpretation of the late Haydn Sonatas remains vivid in memory. Freshness of thought, blustering temperament, spiritiual freedom and contagious sense of humour mark the enthusing, ravishing pianistic interpretation of the (E-flat Major) sonata. Transparence of the voices by wisely-drawn melodic as well as congenial structured illumination of the architectonically surprising, inspiring musical experience.

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