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Nox
Various composers

Hannes Minnaar

Nox

Price: € 20.95 14.67
Format: SACD
Label: Challenge Classics
UPC: 0608917285321
Catnr: CC 72853
Release date: 24 September 2020
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Label
Challenge Classics
UPC
0608917285321
Catalogue number
CC 72853
Release date
24 September 2020

"Hannes Minnaar knows what nuance means. His interpretation sweeps the emotional spectrum of the composer, from the darkest recesses of the soul to euphoria."

Diapason, 01-6-2021
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Artist(s)
Composer(s)
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About the album

Nox, the Latin word for 'night'. In the world of art, the night of Schumann's Nachtstücke, Robert Zuidam's Nox and Ravel's Gaspard de la Nuit creaks open its doors like a haunted castle for romantic poets and composers. Night-time visions became the foundations of a pre-Freudian subconscious in the late 18th and early 19th centuries. Some of the great writers discovered their dreams and anxieties, seeing themselves and the magic of imagination in the mirror of fantasy.

It was no coincidence that their work provided intellectual sustenance for Robert Schumann (1810-1856), who also had a literary gift. His earliest works, which were entirely for piano up until his Nachtstücke, Op. 23 (1839), originated in psychological impressions gained from literature. Schumann wrote to his beloved, Clara Wieck, that the work stemmed from a premonition. During the composition, he kept seeing visions of funeral processions, “Coffins and miserable, despairing people”. His instincts had not deceived him:on completing the work, with tears in his eyes, he heard that his brother Eduard was on his deathbed. Listening to the Nachtstücke again and knowing this, one can hear the shadows falling over light and life, depicted by the pianist's defeated irony.
For Dutch composer Robert Zuidam (b. 1964), night is the night of toil. Nox (2020) is a night owl's ode to the hours of his creativity.
Ravel had done everything he could in his piano cycles Jeux d'eau (1901) and Miroirs (1905) towards de-romanticising the 19th century character sketch, but he took an important step forward in Gaspard as regards both virtuosity and idiom. His aim was to produce something that was even more difficult to play than Balakirev's notorious Islamey. Gaspard is a deranged combination of abstract pianistic hyper-virtuosity with derailed eruptions of waltzes, peppered with raging, flamenco-style note repetitions and unplayable cascades of clusters of seconds, betraying the signature of Ravel's exceptionally dextrous thumbs.

But, in essence, Gaspard is a symphonic poem for piano. The work is subtitled Trois Poèmes pour piano d'après Aloysius Bertrand, and these poems are also printed out in full in the score. They are drawn from the collection of prose poems entitled Gaspard de la Nuit, Fantaisies à la manière de Rembrandt et de Callot, which were published in 1842. The infernal degree of difficulty is a metaphor for their contents; as Ravel himself stressed in one of his letters, Gaspard is in fact the devil.
De prachtige cd Nox is het tweede solo album in vier jaar tijd van pianist Hannes Minnaar. De composities van Robert Schumann, Robert Zuidam en Maurice Ravel gaan alle over de ‘nacht’, in het Latijn ‘Nox’. Het zijn geenszins lieflijke nachtwerken, ze verwijzen eerder naar het magische en het onheilspellende van de nacht en zijn soms duivels moeilijk, zoals bij de stukken van Ravel. Die vragen een pianistische hypervirtuositeit, die Hannes Minnaar wel is toevertrouwd.

Verbeeldingskracht
Het album is niet alleen door de keuze van de werken, maar ook door de interpretatiekunst van Minnaar, er een geworden van verbeeldingskracht. Hij zorgt ervoor dat de techniek te allen tijde staat als een huis, de inspiratie ruim baan krijgt en de verbeelding tot leven komt in de pianist én de luisteraar. Een magisch moment, zo magisch als de nacht.

Eind 18e, begin 19e eeuw werden nachtelijke visioenen de pijlers van een pre-Freudiaans onderbewustzijn. Grote auteurs ontdekten hun dromen en angsten en zagen zichzelf en de magie van de verbeeldingskracht in de spiegel van fantasie. Dat gebeurt ook in de ‘nacht’ van Schumanns Nachtstücke, Zuidams Nox en Ravels Gaspard de la Nuit, daar gaat de deur knarsend en piepend open, als bij een spookkasteel voor romantische dichters en componisten. Niet toevallig vormt hun werk de intellectuele voedingsbodem voor de ook literair begaafde Robert Schumann.

Schumanns Nachtstücke
Zijn werk Nachtstücke is ontstaan uit een voorgevoel, zo schreef Robert Schumann aan zijn geliefde Clara Wieck. Bij het componeren zag hij lijkstoeten voor zich, doodkisten, ongelukkige, vertwijfelde mensen. Zijn voorgevoel had hem niet bedrogen. Nadat hij de muziek met tranen in de ogen had voltooid, hoorde hij dat zijn broer Eduard op sterven lag. Wie met die wetenschap Nachtstücke beluistert, hoort er de schaduw vallen over licht en leven, geschilderd met de verslagen ironie van de speler.

De nacht van de arbeid
Robert Zuidam was zelf aanwezig bij de opnamen van zijn cyclus die hij tussen 2018 en 2020, speciaal voor Hannes Minnaar, componeerde. De laatste noten van zijn werk kwamen kort voor de opname op papier, de inkt was nog nat. Zuidam is een echt nachtmens. Hij werkt het liefst als iedereen slaapt en hij weet deze nachtelijke atmosfeer prachtig in muziek om te zetten, want de nacht heeft zo veel facetten.

Zijn vierde stuk mogen we niet onvermeld laten. Afscheid van Reinbert op Zorgvlied is een in memoriam voor de, in februari 2020, overleden dirigent, pianist en componist Reinbert de Leeuw. Of, misschien beter, de karakterschets van een groot musicus, zijn obsessieve temperament en zijn grote ontdekkingen. Toen Zuidam in de nacht na de begrafenis in één adem dit kleine monument optekende, werd de herinnering alsnog nocturne.

De duivel van Ravel
In Gaspard de la Nuit zette Ravel een belangrijke stap voorwaarts als het gaat om virtuositeit en muziektaal. Hij zoekt de mechanische onstuitbaarheid van het machinale. ‘Wat is dit muzikaal!’, roept Ravel uit, als hij op een boottocht met rijke vrienden het vuurspuwende en oorverdovende spektakel van een Belgische ijzergieterij aanschouwt, ‘dit ga ik gebruiken’. Gaspard is een verwarrende combinatie van pianistische hypervirtuositeit met ontspoorde erupties van walsen, gekruid met razende, flamenco-achtige toonrepetities en onspeelbare cascaden van secundenclusters, die de signatuur verraden van Ravels uitzonderlijk behendige duimen. Maar eigenlijk is Gaspard een symfonisch gedicht voor piano met de ondertitel Trois Poèmes pour piano d’après Aloysius Bertrand, wiens gedichten ook volledig in de partituur zijn afgedrukt. Ze komen uit de verzameling prozagedichten Gaspard de la Nuit, Fantaisies à la manière de Rembrandt et de Callot uit 1842. De helse moeilijkheidsgraad is een metafoor van hun inhoud. Gaspard is, zoals Ravel zelf in een brief schrijft, de duivel.
Nox, Latein für Nacht - in der Welt der Kunst öffnet sich knarrend die Tür zur Nacht von Schumanns Nachtstücken, Robert Zuidams Nox und Ravels Gaspard de la Nuit gleich der eines Geisterschlosses für Dichter und Komponisten der Romantik. Nächtliche Visionen wurden am Ende des 18. und Anfang des 19. Jahrhunderts zum Grundstein eines vor-Freud’schen Unterbewussten. Manche der großen Autoren entdeckten ihre Träume und Ängste, sahen sich selbst und den Zauber der Vorstellungskraft im Spiegel der Phantasie.
Es ist kein Zufall, dass ihre Werke intellektuelle Nahrung für Robert Schumann (1810-1856) boten, der ebenfalls eine literarische Begabung hatte. Seine frühesten Werke, bis zu den Nachtstücken, Op. 23 (1839), ausschließlich für Klavier, entsprangen psychologischen Eindrücken aus der Literatur. Schumann schrieb seiner Liebsten, Clara Wieck, dass das Werk auf einer Vorwarnung fuße und dass er während der Arbeit daran wieder und wieder „Leichenzüge, Särge und unglückliche verzweifelte Menschen“ sehe. Seine Eingebung hatte ihn nicht getrogen: nach Fertigstellung der Komposition hörte er unter Tränen, dass sein Bruder Eduard im Sterben lag. Hört man nun die Nachtstücke erneut mit diesen Ereignissen im Hinterkopf, so kann man in der unterlegenen Ironie des Pianisten buchstäblich die Schatten auf Licht und Leben fallen hören.

Für den niederländischen Komponisten Robert Zuidam (geb. 1964) ist die Nacht die Zeit der Arbeit. Nox (2020) ist die Ode einer Nachteule an diese Stunden der Kreativität.

Ravel hatte in seinen Klavierzyklen Jeux d’eau (1901) und Miroirs (1905) bereits alles ihm Mögliche für die Romantisierung des Charakterstücks des 19. Jahrhunderts getan, doch in Gaspard de la Nuit machte er einen entscheidenden Schritt voran, was Virtuosität und Musiksprache anbelangt. Sein Ziel war, etwas zu produzieren, das noch schwerer zu spielen war als Balakirews berüchtigtes Islamey. Gaspard de la Nuit ist eine wirre Kombination von pianistischer Hypervirtuosität in entgleisten Ausbrüchen von Walzern, gewürzt mit rasenden Tonrepetitionen im Flamenco-Stil und unspielbaren Kaskaden von Sekundclustern, die ein Zeichen von Ravels außergewöhnlich geschickten Daumen sind. Im Grunde genommen ist Gaspard de la Nuit jedoch eine symphonische Dichtung für Klavier. Das Werk trägt den Untertitel Trois Poèmes pour piano d’après Aloysius Bertrand, und diese Gedichte sind in der Partitur auch in voller Länge abgedruckt. Sie alle stammen aus der Sammlung von Prosagedichten mit dem Titel Gaspard de la Nuit, Fantaisies à la manière de Rembrandt et de Callot, die 1842 veröffentlicht worden waren. Der teuflische Schwierigkeitsgrad der Komposition ist eine Metapher für ihren Inhalt. Wie Ravel selbst in einem Brief betonte: Gaspard ist in Wirklichkeit der Teufel.

Artist(s)

Hannes Minnaar (piano)

Hannes Minnaar received international acclaim after winning prizes at the Queen Elisabeth Competition (2010, 3rd prize) and the Geneva International Music Competition (2008, 2nd prize) and being awarded a Borletti-Buitoni Trust Fellowship (2011). He studied with Jan Wijn at the Amsterdam Conservatory, graduating with the highest distinction and took master classes with Menahem Pressler and Ferenc Rados. In addition, he studied organ with Jacques van Oortmerssen. Minnaar was soloist with various orchestras, including the Royal Concertgebouw Orchestra, during which time he worked with conductors such as Marin Alsop, Jiří Bělohlávek, Herbert Blomstedt, Frans Brüggen, Eliahu Inbal, Edo de Waart and Xian Zhang. He gives recitals in many European countries and around the world. He performed at the Royal Concertgebouw (Amsterdam), Konzerthaus...
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Hannes Minnaar received international acclaim after winning prizes at the Queen Elisabeth Competition (2010, 3rd prize) and the Geneva International Music Competition (2008, 2nd prize) and being awarded a Borletti-Buitoni Trust Fellowship (2011). He studied with Jan Wijn at the Amsterdam Conservatory, graduating with the highest distinction and took master classes with Menahem Pressler and Ferenc Rados. In addition, he studied organ with Jacques van Oortmerssen.
Minnaar was soloist with various orchestras, including the Royal Concertgebouw Orchestra, during which time he worked with conductors such as Marin Alsop, Jiří Bělohlávek, Herbert Blomstedt, Frans Brüggen, Eliahu Inbal, Edo de Waart and Xian Zhang. He gives recitals in many European countries and around the world. He performed at the Royal Concertgebouw (Amsterdam), Konzerthaus (Berlin), Musashino Hall (Tokyo) and the Great Hall of the Tchaikovsky Conservatory (Moscow) and was invited to the festivals of La Roque d’Anthéron, Bordeaux (Jacobins) and Guangzhou.
Minnaar is also active as a chamber musician. As a member of the Van Baerle Trio he won prizes at competitions in Lyon (2011, CIMCL, 1st prize) and Munich (2013, ARD, 2nd prize). The trio gave 18 concerts in an international tour in the “Rising Stars” series in 2014, including the Barbican (London), Musikverein (Vienna) and Cité de la Musique (Paris). Minnaar also performed with musicians such as Janine Jansen, Isabelle van Keulen and Mischa Maisky.
His two solo albums are highly acclaimed. His debut album was awarded an Edison and Gramophone published a full-page article about this album. The same magazine wrote about his second album “Bach inspirations”: “After Minnaar’s debut disc, this makes two hits in a row”. BBC Music Magazine selected it as “Instrumental choice of the month” with 5 stars.
Minnaar is currently recording all of Beethoven’s piano concertos for Challenge Classics. Other future concert highlights include Liszt’s Totentanz and a new concerto by Robert Zuidam with the Radio Philharmonic Orchestra under the baton of Markus Stenz – at which occiasion he will be awarded the Dutch Music Prize by the Dutch Minister of Culture – and Beethoven’s Third Piano Concerto with the London Philharmonic Orchestra conducted by Daniele Rustioni.


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Composer(s)

Maurice Ravel

Joseph Maurice Ravel was a French composer who is often associated with impressionism along with his elder contemporary Claude Debussy, although both composers rejected the term. In the 1920s and 1930s Ravel was internationally regarded as France's greatest living composer. Born to a music-loving family, Ravel attended France's premier music college, the Paris Conservatoire; he was not well regarded by its conservative establishment, whose biased treatment of him caused a scandal. After leaving the Conservatoire Ravel found his own way as a composer, developing a style of great clarity, incorporating elements of baroque, neoclassicism and, in his later works, jazz. He liked to experiment with musical form, as in his best-known work, Boléro (1928), in which repetition takes the place of...
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Joseph Maurice Ravel was a French composer who is often associated with impressionism along with his elder contemporary Claude Debussy, although both composers rejected the term. In the 1920s and 1930s Ravel was internationally regarded as France's greatest living composer.
Born to a music-loving family, Ravel attended France's premier music college, the Paris Conservatoire; he was not well regarded by its conservative establishment, whose biased treatment of him caused a scandal. After leaving the Conservatoire Ravel found his own way as a composer, developing a style of great clarity, incorporating elements of baroque, neoclassicism and, in his later works, jazz. He liked to experiment with musical form, as in his best-known work, Boléro (1928), in which repetition takes the place of development. He made some orchestral arrangements of other composers' music, of which his 1922 version of Mussorgsky's Pictures at an Exhibition is the best known.
As a slow and painstaking worker, Ravel composed fewer pieces than many of his contemporaries. Among his works to enter the repertoire are pieces for piano, chamber music, two piano concertos, ballet music, two operas, and eight song cycles; he wrote no symphonies and only one religious work. Many of his works exist in two versions: a first, piano score and a later orchestration. Some of his piano music, such as Gaspard de la nuit (1908), is exceptionally difficult to play, and his complex orchestral works such as Daphnis et Chloé (1912) require skilful balance in performance.

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Robert Schumann

Robert Schumann was a German composer and influential music critic. He is widely regarded as one of the greatest composers of the Romantic era. Schumann left the study of law, intending to pursue a career as a virtuoso pianist. He had been assured by his teacher Friedrich Wieck that he could become the finest pianist in Europe, but a hand injury ended this dream. Schumann then focused his musical energies on composing. Schumann's published compositions were written exclusively for the piano until 1840; he later composed works for piano and orchestra; many Lieder (songs for voice and piano); four symphonies; an opera; and other orchestral, choral, and chamber works. Works such as Carnaval, Symphonic Studies, Kinderszenen, Kreisleriana, and the Fantasie in...
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Robert Schumann was a German composer and influential music critic. He is widely regarded as one of the greatest composers of the Romantic era. Schumann left the study of law, intending to pursue a career as a virtuoso pianist. He had been assured by his teacher Friedrich Wieck that he could become the finest pianist in Europe, but a hand injury ended this dream. Schumann then focused his musical energies on composing.
Schumann's published compositions were written exclusively for the piano until 1840; he later composed works for piano and orchestra; many Lieder (songs for voice and piano); four symphonies; an opera; and other orchestral, choral, and chamber works. Works such as Carnaval, Symphonic Studies, Kinderszenen, Kreisleriana, and the Fantasie in C are among his most famous. His writings about music appeared mostly in the Neue Zeitschrift für Musik (New Journal for Music), a Leipzig-based publication which he jointly founded.
In 1840, Schumann married Friedrich Wieck's daughter Clara, against the wishes of her father, following a long and acrimonious legal battle, which found in favour of Clara and Robert. Clara also composed music and had a considerable concert career as a pianist, the earnings from which, before her marriage, formed a substantial part of her father's fortune.
Schumann suffered from a mental disorder, first manifesting itself in 1833 as a severe melancholic depressive episode, which recurred several times alternating with phases of ‘exaltation’ and increasingly also delusional ideas of being poisoned or threatened with metallic items. After a suicide attempt in 1854, Schumann was admitted to a mental asylum, at his own request, in Endenich near Bonn. Diagnosed with "psychotic melancholia", Schumann died two years later in 1856 without having recovered from his mental illness.

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Robert Zuidam

The focal point of Robert Zuidam’s compositional output is targeted at vocal music and particularly that of music theatre. The McGonagall-Lieder (1997-2001) for colorature-soprano and ensemble, Pancho Villa (1988-’90) voor mezzo-soprano and piano, Nella Città Dolente (1998) for vocal octet and particularly Calligramme/il pleut (1991, rev. 2009), for two female voices a cappella, belong to Zuidam’s most frequently performed works. In 2012 his Canciones del Alma was premiered in Amsterdam Concertgebouw, again starring Katrien Baerts. He is currently working on a Requiem, for the Netherlands Chamber Choir and  Asko|Schönberg. It was Hans Werner Henze, who made Zuidam aware of his potential as an opera-composer and -librettist, and commissioned him to create a full-length opera for the Biennale für Neues Musiktheater in...
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The focal point of Robert Zuidam’s compositional output is targeted at vocal music and particularly that of music theatre. The McGonagall-Lieder (1997-2001) for colorature-soprano and ensemble, Pancho Villa (1988-’90) voor mezzo-soprano and piano, Nella Città Dolente (1998) for vocal octet and particularly Calligramme/il pleut (1991, rev. 2009), for two female voices a cappella, belong to Zuidam’s most frequently performed works. In 2012 his Canciones del Alma was premiered in Amsterdam Concertgebouw, again starring Katrien Baerts. He is currently working on a Requiem, for the Netherlands Chamber Choir and Asko|Schönberg.
It was Hans Werner Henze, who made Zuidam aware of his potential as an opera-composer and -librettist, and commissioned him to create a full-length opera for the Biennale für Neues Musiktheater in Munich, Germany. This resulted in Freeze, an opera based on the story of the Patricia Hearst-kidnap, which was realized in 1994 in a co-production with the Holland Festival and the Staatstheater Braunschweig. Soprano Susan Narucki performed the leading role of the piece, that prompted Klaus Umbach, music-critic of Der Spiegel to label Zuidam as “ein genialischer Hund”.
A second opera, Rage d’amours, was commissioned by the Boston Symphony Orchestra and was premiered in August 2003 at Tanglewood, with the much acclaimed soprano Lucy Shelton as leading lady. Also on this occasion, the press responded with enthusiasm. The New York Times wrote: “a formidable work... a score that keeps you hooked... with Rage d’amours Mr. Zuidam announces himself as a composer to reckon with”. Rage d’amours, which portrays the turbulent relationship of Johanna the Insane and Philip the Handsome, received its European premiere in June 2005 during the Holland Festival in Amsterdam, in a double-bill with Zuidam’s McGonagall-Lieder, with Claron McFadden, Barbara Hannigan and Young-Hee-Kim performing the leading roles, in a staging by Guy Cassiers, and was revived by Festival in de Branding, The Hague 2010. In 2006 the chamber-opera Der Hund was created, in a production of Muziektheater De Helling, directed by door Aat Ceelen, about the final hour of the Austrian suicidal misanthrope Otto Weininger.
In 2009, Zuidam composed Adam in Ballingschap for De Nederlandse Opera and the Holland Festival, after Joost van den Vondel’s play from 1664, again staged by Guy Cassiers, with Claron McFadden and Thomas Oliemans performing the leading roles. Zuidam’s opera Suster Bertken, about the life and poetry of a 15th-century anchoress from Utrecht, received its first, semi-staged performances in December 2010 with soprano Katrien Baerts in the title role and Asko|Schönberg. A new scenic production directed by Pierre Audi is staged at Holland Festival 2013 in a double bill with his latest work Troparion for Helena Rasker and a small ensemble with acclaimed violinist Liza Ferschtman in the lead.
In addition to this, Robert Zuidam composed a large number of works for orchestra, ensembles and soloists. Besides his work as a composer, Zuidam is also active as an essayist on music, a.o. for the Dutch newspaper NRC Handelsblad. In 2010, Zuidam taught and lectured at Harvard University as Erasmus Professor, and was awarded the Kees van Baaren-Prize in The Hague, for his opera Rage d’amours. Zuidam’s music is published by Deuss Music, The Hague.

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Leoš Janáček

Leoš Janáček was a Czech composer and folklorist. He was inspired by Moravian and other Slavic folk music to create an original, modern musical style. Until 1895 he devoted himself mainly to folkloristic research and his early musical output was influenced by contemporaries such as Antonín Dvořák. His later, mature works incorporate his earlier studies of national folk music in a modern, highly original synthesis, first evident in the opera Jenůfa, which was premiered in 1904 in Brno. The success of Jenůfa (often called the 'Moravian national opera') at Prague in 1916 gave Janáček access to the world's great opera stages. Janáček's later works are his most celebrated. They include operas such as Káťa Kabanová and The Cunning Little Vixen, the...
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Leoš Janáček was a Czech composer and folklorist. He was inspired by Moravian and other Slavic folk music to create an original, modern musical style.
Until 1895 he devoted himself mainly to folkloristic research and his early musical output was influenced by contemporaries such as Antonín Dvořák. His later, mature works incorporate his earlier studies of national folk music in a modern, highly original synthesis, first evident in the opera Jenůfa, which was premiered in 1904 in Brno. The success of Jenůfa (often called the "Moravian national opera") at Prague in 1916 gave Janáček access to the world's great opera stages. Janáček's later works are his most celebrated. They include operas such as Káťa Kabanová and The Cunning Little Vixen, the Sinfonietta, the Glagolitic Mass, the rhapsody Taras Bulba, two string quartets, and other chamber works. Along with Antonín Dvořák and Bedřich Smetana, he is considered one of the most important Czech composers.

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Press

Hannes Minnaar knows what nuance means. His interpretation sweeps the emotional spectrum of the composer, from the darkest recesses of the soul to euphoria.
Diapason, 01-6-2021

Throughout the recital Minnaar shows himself off not only as an instrumental talent but as a probing musician. His playing may not be to everyone's taste. Some may find his temperament a bit cool. But the same was often said about Michelangeli. Most will have their favorite recordings of this repertoire already—I certainly do. But if one wants to hear this music anew, brilliantly captured in exquisite sound as here, and programmed to make the most of it all, then one should hear Minnaar. 
Fanfare, 01-3-2021

The young Dutch pianist Hannes Minnaar surprises every time anew with his subtle, virtuoso playing. His latest CD album with piano music inspired by the night also fulfills almost all expectations that one can place on these young pianist. You don't hear a top athlete, but a piano poet who puts his immense pianistic possibilities at the service of music inspired by the night.
Piano News, 01-1-2021

Though I did want Mr Minnaar's playing to be a bit faster, it is rich and solid, as he brings power and passion to Schumann's Nachtstucke.
American Record Guide, 01-1-2021

Nox is dedicated to the Dutch Pianist [Hannes MInnaar], who is here excellent in his rendition […] Hannes Minnaar finely detects the different features of these four pieces [Schumann] and handles with confidence the virtuoso writing of Scarbo, after having outlined the sombre visions of Gibet and the charme of Ondine with commendable strength
Classic Voice, 01-12-2020

By embedding Nox by Rob Zuidam in classics by Schumann and Ravel, a kaleidoscopic nocturnal voyage is created, a triptych of mutually reinforcing panels. The inner logic of Minnaar’s vision is rock solid.
NRC, 10-10-2020

Minnaars nights are buzzing and tingling with passion.
De Gelderlander, 07-10-2020

In all parts of Nox, virtuosity is linked to depth, qualities that Minnaar embodies like no other. Schumann is played wonderfully, and in Ravel you listen in amazement to how one of the most difficult pieces for piano is transformed into pure music.
Trouw, 29-9-2020

Minnaar is taking the next step with ‘Nox’, an inevitable candidate for an Edison Classic Award and many others. He joins the ranks of the great pianists of our time.
Het Parool, 25-9-2020

Nox is a highly expressive, rhetorical work, which is performed by Minnaar in a gripping way.
Pizzicato, 24-9-2020

What immediately strikes you is the personal style of interpretation of the now 35-year-old Dutch pianist. His technique allows him to explore the music in depth and render it poetically.
Pizzicato, 24-9-2020

On his breathtaking new album, piano virtuoso Hannes Minnaar plays the night, with the darkness that evokes unease but can also embrace you. Minnaar sounds the way he himself is: sober-minded but sensitive.
De Volkskrant, 24-9-2020

Everything comes together perfectly in this deeply layered and evocatively designed, fascinating recital. The almost scorching directness that characterises his playing is just as striking for Minnaar as the enchanting suppleness in rhythm, voicing and intonation.
Opus Klassiek, 24-9-2020

Minnaar is happy with the result: 'I have worked on it with great pleasure and will perform it often in the coming season'.
Pianist, 11-9-2020

Hannes Minnaar plays old and new music.
Pianist, 11-9-2020

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Videos

Hannes Minnaar (piano) - excerpt from 'Nox - V. Perseids passing' - Robert Zuidam
Hannes Minnaar - NOX

Often bought together with..

Anton Bruckner
Bruckner No. 7
Netherlands Radio Philharmonic Orchestra / Bernard Haitink
Robert Schumann
Einsam
Nino Gvetadze
Washwishni (vinyl)
Rima Khcheich
Various composers
Roaring Twenties
Calefax / Cora Burggraaf
Symphony in C / Tristan und Isolde / Siegfried Idyll
Edo de Waart / Netherlands Radio Philharmonic Orchestra

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