Katrine Gislinge

Katrine Gislinge began taking piano lessons at the age of six.
After taking her diploma in 1990 at the Royal Danish Academy of Music in Copenhagen, she studied with among others Seymour Lipkin in New York, at Yale with Boris Berman and Claude Frank, and with Peter Feuchtwanger in London. Today she is one of Scandinavias most famous pianists.
Katrine Gislinge's concerts have evoked a broad spectrum of superlatives. She is well known for her musical imagination and profound empathy with the classical repertoire:
"Katrine Gislinge has added cubits to her status as a pianist in recent years. She has emerged from the role of child prodigy and is now a mature artist with a rich array of resources." . . .
"Gislinge is a winner."
So wrote the music reviewer Jens Brincker in Berlingske Tidende on 18th January 1998. Since then Katrine Gislinge's career has picked up speed: a CD recording on Deutsche Grammophon, chamber music collaboration with international artists like violinist Gidon Kremer, the German Petersen String Quartet, the cellist Jian Wang, cellist Marc Coppey, the flautist Emmanuel Pahud, the violinist Augustin Dumay and the violist G?rard Causs?; solo concerts at international festivals (fx. Festival Internacional Cervantino in Mexico and 'Le Festival de Radio France et Montpellier') and soloist performances conducted by among others Eri Klas, Hiroyuki Iwaki, Michael Sch?nwandt, Okko Kamu, Heinrich Schiff, Kurt Sanderling, Adam Fischer and Sylvain Cambreling.
What artists! The pianist Katrine Gislinge and the violinist Augustin Dumay fill this glowing quartet with expressive, rapier-sharp playing" . . . . "The feeling of being in the kingdom of exuberance is real - believe in it".
Peter Johannes Erichsen, Weekendavisen 2.11.01
"Katrine in Wonderland" . . . . "The full hall boiled with enthusiasm over this wonderful evening and as a reward was given the Sicilienne movement once again. But even more delicately".
(from a concert with Augustin Dumay, G?rard Causs? and others)
Knud Ketting, Jyllandsposten 28.10.01
"Strongest was the Shostakovich, where one of the absolute high points was the concluding slow part of the first movement. He, whispering almost without vibrato and pitch. She, listening breathlessly. Even more intensely than on the recording by Mstislav Rostropovitch with the composer himself at the piano.
(from a concert with the cellist Jian Wang)

"Katrine Gislinge proved herself lovely in person, rich in searching musicianship, accomplished in technique and, most important of all, a thoughtful artist with definite ideas about the music she undertakes,
Beginning with Schubert's Second Opus 90 Impromptu, the artist showed an abiding concern for musical architecture. Although her tone doesn't lack warmth, it is her striking clarity that gives such definition to her playing. She takes her time to settle her fingers on the keys, preparing her audience to enter into the process.
2 Chopin works enforced the impression of thoughtful artistry and technical authority. Her precision told beautifully in Debussy's Images 1, where clean fingering made the composer's washes of sound all the more affecting. Schumann's "Kreisleriana" was marvelously detailed, yet alert to every quixotic contrast. Gislinge clearly is someone quite special."

Eric Eriksson, Doors County Advocate, august 28, 2003

Pianist, JSO capture Mozart's subtleties
By Terry Pow
For the Jackson Citizen Patriot
Monday, February 9, 2004 - page A-7
Denmark's celebrated piano virtuoso Katrine Gislinge clearly believes in establishing a close rapport with the orchestra.
At moments she appeared to? be conducting along with maestro Stephen Osmond during Saturday night's Jackson Symphony Orchestra concert.? Or maybe the expressive gestures were her way of channeling into the astral presence of Mozart, whose "Piano Concerto No. 23 in A major" lay beneath her agile fingers.
Either way, it turned out to be as refined a performance of a masterpiece as one might hope to hear on a cold winter's night.?
Mozart wrote this work in a year of astonishing productivity that included two other piano concertos and "The Marriage of Figaro." The A major concerto side steps the overt brilliance of the other pieces and invites the listener into a more private world, at once tender and confiding.
Gislinge embraced the tenderness without becoming sugary. She coaxed the work's shy mysteries to the surface with a gem-like technique and limpid tone.