Martin Karlicek

piano
biography

Martin Karlíček's piano playing has been described as "inspiring, rich, sensitive, stylistically taut and arresting, precise, crisp, brilliantly controlled, wonderfully colourful and always imaginative." He performs and lectures regularly in the Czech Republic, Germany, Canada, U.S.A. and Japan.




Aside from establishing his reputation as a dynamic promoter of Czech music, Mr. Karlíček's large solo and chamber music repertoire includes works from all periods. Championing contemporary classical music, he introduced several world premieres such as Félix Frédéric Baril's piano concerto Déviations, Martin Matalon's Las siete Vidas de un Gato as a North-American premiere and a world premiere of Tekeni-Ahsen by Denys Bouliane. In 2008 he and a Japanese violinist Mana Shiraishi established Duo Ventapane and in 2011, Creo Trio.




Mr. Karlíček gathered awards and prizes from several international music competitions winning the Bedřich Smetana International Piano Competition, the South Bohemian International Piano Competition and the Prague-Vienna-Budapest International Summer Academy Competition. He received awards for performances of contemporary compositions, chamber music collaborations and for solo performances of music by Bedřich Smetana, Béla Bartók, Ferenc Liszt, Leoš Janáček and Bohuslav Martinů.




Martin Karlíček studied at the Academy of Music in Prague (B.Mus., M.Mus.), Utrecht Academy of the Arts in Holland and at McGill University in Montreal in Canada (M.Mus., D.Mus.). Presently, he is teaching piano at the Schulich School of Music of McGill University.


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Reviews
Mal zart perlend, mal wuchtig breit
2008-08-06 Kultur Lokal,
"...Neben der fűr Beethovensche Werke unerlässlichen deutlichen Gliederung des Werkes durch das Hervorheben der motivischen Arbeit hatte er Kontraste herausgearbeitet: im ersten Satz etwa schwere Betonungen gegen eine Musik fast in der Schwebe. Markante Akzentsetzungen bestimmten demgemäß auch das Scherzo mit seiner fließenden Virtuosität, der ein fast schon stockend-verhalten ruhiges Trio gegenűbergestellt wurde. Der Trauermarsch-Satz geriet dann durch eine nicht zu schleppende Tempowahl nicht zur Vorwegnahme Chopinscher Musik. Vielmehr rűckte die Harmonik und Beethovens Umgang mit ihr in den Mittelpunkt. Das Finale lief wunderbar aus..."
(Ralf Snurawa)
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2005-10-04 Letter of Recommendation,
"... One of the most talented musicians of his generation..."
(Kyoko Hashimoto)
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