Libor Novacek needs little introduction, as his two recordings for Landor have firmly established him among the best young pianists, with Gramophone Editor’s Choice and Liszt Society ‘Diplôm d’Honneur’ accolades, among worldwide critical acclaim.
The new recording is entirely devoted to works by Johannes Brahms. It deliberately covers a wide chronological range, mapping Brahms’s path from youthful brilliance to mellow maturity and includes the comparatively rarely played early Second Piano Sonata in F sharp minor, Op 2, as well as the Klavierstucke, Op 76 and the three late Intermezzi, Op 117.
Novacek has already graced the stage at many important festivals and prestigious concert venues, both in the UK and abroad, including appearances at London’s Barbican Centre and Wigmore hall and Prague’s Rudolfinum with orchestras including the Royal Philharmonic Orchestra and Prague Philharmonia Orchestra, among many others.
“The Sonata is among Brahms's least-recorded piano works, and though there are excellent versions available from, among others, Katchen and Richter… I feel Novacek may have set a new benchmark here, while his Op. 76 stands out strongly from other accounts. Altogether an impressive release.” BBC Music Magazine, August 2008 *****
“The young Czech pianist's latest release presents him in a wildly contrasting repertoire by Brahms...The recording exaggerates a certain brittle quality in the Sonata's tumultuous opening movement, while the Scherzo could do with clearer phrase definition. There's greater contrast of colour and mood in the rest of the recital.” Sunday Times, 14th September 2008 ***
“This is big-boned playing, very Romantic and covering a huge dynamic and emotional range, so if your taste in Brahms is for something reined in, this may not be for you...The high point comes, however, with Novacek's performance of the Op 117 Intermezzos, which are heartbreaking in their quiet intensity.” Tim Ashley, The Guardian, 12th September 2008 ****
“…Libor Novacek shows himself deeply sensitive to the interior light burning beneath the surface of Brahm's often dark-hued later masterpieces. His playing captures a reflection and nostalgia at the heart of such music, an eternal note of sadness.” Gramophone Magazine, October 2008
