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"What an enterprising programme from the Israeli pianist...great charachterfulness...every sonata seems to spring a surprise... fleet and airy"

GRAMOPHONE MAGAZINE, UK
"...probing, incisive pianist with a beautiful sound and an impressively transparent touch...If you like Glenn Gould’s Bach, you’ll like Yarden’s... superb voice-leading and a sense of purpose in every note"

WASHINGTON POST, USA
"Yarden displays an inventively intelligent Haydn, full of wit and abundance, with a delicate, varying touch... glowing, adventurous, at times intimately chamber-music-like, at times grand and orchestral"

FONO FORUM MAGAZINE, GERMANY
"Wherever you listen in this recording, you will be richly rewarded"

PREIS DER DEUTSCHE SCHALLPLATTENKRITIK, BESTENLISTE (Quarterly German Records Critics’ Prize, for Haydn CD)

Very new videos on YouTube

Happy to share with you recently recorded videos on YouTube:
C.O.E. Bach - Rondo in C minor, Wq.59/4: https://youtu.be/gMPRVwboXEw
Brahms – Intermezzo Op. 116 No. 4: https://youtu.be/8PU-yes5ai0?si=t_4xgAT-q82TnMqZ
Stravinsky – Piano-Rag Music: https://youtu.be/Keiog4Furbs
Schumann-Liszt – Widmung: https://youtu.be/cp0WhC8_qJI
 

Great review of Piano aux Jacobins recital on Diapason Magazine, France

Diapason Magazine review for my recital at the fantastic International Festival Piano aux Jacobins in Toulouse: "The performance of Einav Yarden, rare in France but noted for her recordings, reveals a radically different universe. At the Saint-Pierre-des-Cuisines auditorium, she performs C.P.E. Bach's Rondo and Fantasias with vitality, clarity and style, pages of unbridled inventiveness, full of daring and surprises, in which the shadow of Beethoven is already looming - one sometimes thinks one hears Sonata no. 1 or a concerto cadenza. In J.S. Bach's English Suite no. 2, she displays authority and naturalness in a masterly yet unostentatious manner..." by Bertrand Boissard, 29.9.23

Hailing review of Bach CD on Fanfare Magazine, USA:

"...What I truly love about Yarden’s performances, though, is the way she not only plays the music but inhabits it. The way that she naturally tosses of the abrupt figurations, at first virtuosic and full-bodied, later gentle, even sigh-like—making them feel like real physical gestures, not only musical ones—in C. P. E. Bach’s E♭-Major Fantasia is just delightful. Her playing is palpable..." by Scott Noriega, Fanfare Magazine Nov-Dec issue

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