Javier Perianes
Piano

“Seldom, if ever, have I encountered such a combination of evident modesty and utter brilliance.” (Sunday Times, May 2016)

Contacts

Lydia Connolly +44 (0)20 3725 9118
Liz Sam +44 (0)20 3725 9122
Holly Brunskill +44 (0)20 3725 9115

Biography

Javier Perianes’ flourishing international career spans five continents, taking him to some of the world’s most prestigious halls, including Carnegie Hall in New York, the Barbican, Royal Festival and Wigmore Halls in London, the Theatre des Champs Elysees in Paris, Berlin’s Philarmonie, the Musikverein in Vienna, the Concertgebouw in Amsterdam and Suntory Hall in Tokyo. He has performed with conductors such as Barenboim, Dutoit, Mehta, Maazel, Frühbeck de Burgos, Dausgaard, Petrenko, Harding, and Temirkanov, among others, and appeared at festivals such as Lucerne, La Roque d'Anthéron, Grafenegg, San Sebastian, Granada and Ravinia.

Javier Perianes’ flourishing international career spans five continents, taking him to some of the world’s most prestigious halls, including Carnegie Hall in New York, the Barbican, Royal Festival and Wigmore Halls in London, the Theatre des Champs Elysees in Paris, Berlin’s Philarmonie, the Musikverein in Vienna, the Concertgebouw in Amsterdam and Suntory Hall in Tokyo. He has performed with conductors such as Barenboim, Dutoit, Mehta, Maazel, Frühbeck de Burgos, Dausgaard, Petrenko, Harding, and Temirkanov, among others, and appeared at festivals such as Lucerne, La Roque d'Anthéron, Grafenegg, San Sebastian, Granada and Ravinia.

Upcoming debuts include the Philharmonia Orchestra, Münchner Philharmoniker, Los Angeles Philharmonic, Orchestre Symphonique de Montréal, Hamburger Symphoniker, Rundfunk-Sinfonieonieorchester Berlin and the Finnish and Swedish radio symphony orchestras. This season he returns to, among others, BBC Philharmonic Orchestra, Orchestre de Paris and Tampere Philharmonic Orchestra. Perianes has also appeared with Wiener Philhamoniker, Chicago, Boston and Atlanta symphony orchestras, Cleveland Orchestra, New York Philharmonic, Frankfurt Radio and Yomiuri Nippon symphony orchestras and London Philharmonic, Bergen Philharmonic and Tonkunstler Orchester. Recent and upcoming recitals include performances in London, Leipzig, St Petersburg, Paris, Miami, Rio de Janeiro, Montevideo, Madrid, Barcelona, Mexico City, Auckland and Hong Kong. Other highlights include international tours with Deutsche Radio Philharmonie Saarbrücken Kaiserslautern and Orquesta Nacional de España, as well as a month-long-tour with orchestras in Australia, New Zealand and Singapore and North and South America. 

Perianes records exclusively for harmonia mundi. His diverse discography has earned acclaim from press and public alike. His Grieg Piano Concerto and a selection of Lyric Pieces, was widely praised by the critics and described as “a new benchmark” by Classica, which awarded it a ‘Choc’; it was also Editor’s Choice in Gramophone and Maestro in Pianiste magazine. This season, Perianes returns to the studio to record Schubert’s Sonata in B flat major, D.960 and Sonata in A major D.664 as well as making a recording of Bartók’s Piano Concerto No.3 with the Münchner Philharmoniker and Pablo Heras-Casado.

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Contacts

Lydia Connolly +44 (0)20 3725 9118
Liz Sam +44 (0)20 3725 9122
Holly Brunskill +44 (0)20 3725 9115

Reviews

“Perianes is a chamber-music natural, adept at judging the minutiae of advance and retreat, and unafraid to let the piano’s weight of sound off the leash when required. The physicality of his playing works powerfully well with Cuarteto Quiroga’s lean, cultivated sound and honed ensemble.” (Classical Source, November 2016)

“In the Ravel concerto, he was rhythmically crisp in the opening movement, poised in the lyrical central Adagio and nimble in the concluding Presto.” (LA Times, October 2016)

“Perianes breathed life into the melodious lines of Bartóks last piece in this genre with his sophisticated attack and dazzlingly clear sound. He drew in sound with the major theme in the first movement the fluttering of a bird and swirled boisterously through the rousing dance theme in the Allegro vivace.” (Münchner Merkur, October 2016)

“Perianes is a chamber-music natural, adept at judging the minutiae of advance and retreat, and unafraid to let the piano’s weight of sound off the leash when required. The physicality of his playing works powerfully well with Cuarteto Quiroga’s lean, cultivated sound and honed ensemble.” (Classical Source, November 2016)

“In the Ravel concerto, he was rhythmically crisp in the opening movement, poised in the lyrical central Adagio and nimble in the concluding Presto.” (LA Times, October 2016)

“Perianes breathed life into the melodious lines of Bartóks last piece in this genre with his sophisticated attack and dazzlingly clear sound. He drew in sound with the major theme in the first movement the fluttering of a bird and swirled boisterously through the rousing dance theme in the Allegro vivace.” (Münchner Merkur, October 2016)

“Beethoven’s Piano Concerto No. 3 had a topnotch interpreter in Javier Perianes. In turn confrontational, tempestuous, lyrical and joyful, Perianes’ account of this much loved concerto was delivered in the most satisfying sense. Simone Young took the orchestra through a beautifully gauged accompaniment to Perianes’ high artistry. This was everywhere apparent as the soloist expounded the composer’s musical argument in a way that sounded entirely convincing. The cadenza was flawless. ... Avalanches of insistent and thoroughly deserved applause resulted, at last, in an encore. With lights on stage dimmed, the audience listened in absorbed silence to an exquisitely wrought, poetic offering: Chopin’s posthumously published Nocturne in C sharp minor. Its haunting lyricism was exquisitely evoked.” (The West Australian, July 2016)

"His performance of Beethoven’s 4th Piano Concerto was to captivate the Viennese, as he turned the opening Allegro's cadenza into a beautiful story while the orchestra listened attentively, realizing they spoke the same musical language. The Andante con moto was a vivid representation of Orpheus in the Underworld, and the final Rondo resulted in a heavenly Beethovenian boutade. At the end, during the Grieg Notturno Perianes gave as encore, many of their expressions clearly read: 'he’s one of ours'.” (Pablo L. Rodríguez, El País, June 2016)

"Of the second program…we shall recall above all the poetically poised and magnificently phrased performance of Beethoven’s 4th Piano Concerto by Javier Perianes. The supreme shadings in the extensive cadenza of the first movement, and his way of muttering the Andante were highly memorable indeed." (Arturo Reverter, La Razón, June 2016)

“Having already displayed his talent in Falla’s orchestrally exhuberant, elegant and forceful Nights in the Gardens of Spain, Javier Perianes then performed the Ravel Concerto in G Major where he presented us with a more Jazz-like virtuosity. . . . Everything became luminous, and impressions turned into time-stopping sensations. Perianes elevated himself through crystal-clear, eloquent, and delicate phrasing, and with him the whole audience at the Palacio de Carlos V. . . . He had taken our senses hostage: some impressions will last a lifetime, and this surely is one of them.” (Gonzalo Lahoz, Platea Magazine, 26 June 2016)

“In the Spanish soloist Javier Perianes, the work found an ideal exponent. His demeanour and technique – those flexible wrists! – radiate calm, yet the precision and speed of his fingerwork can be quite shattering. Seldom, if ever, have I encountered such a combination of evident modesty and utter brilliance.” (The Sunday Times, May 2016)

“The soloist Javier Perianes seemed to relish the melting pot of influences, moving across them with ease yet always displaying pianistic warmth and lyrical sweep. With utmost naturalness at the keyboard, he also found room for old-fashioned virtuosity.” (John Allison, The Telegraph, April 2016)

“The soloist was the Spaniard Javier Perianes, a player of great elegance and understated flamboyance, in many ways the work’s ideal interpreter. Limpidity gave way to weight in the gathering drama of the first movement ... which Perianes negotiated with exquisite grace and a wonderful lightness of touch. The finale, expressing “the joy of a sea crossing” according to Saint-Saëns, was all elation and dexterous wit.” (Tim Ashley, The Guardian, April 2016)

“And the Spanish soloist, Javier Perianes, was a true find for this concert, a pianist who was technically at ease with a gossamer touch and a dynamic that rarely entered into loud territory. Perianes' interaction with González and the orchestra was full of empathy, and Beethoven's simple melodies emerged as infinitely beautiful.” (Nordjyske Medier, October 2015)

“The Spanish pianist Javier Perianes is rapidly establishing his reputation in the UK, with a Wigmore Hall recital and BBC dates under his belt, and his recent Mendelssohn release has been widely acclaimed. This date (replacing Menahem Pressler) with the LPO confirmed what an exceptional musician he is. From the piano’s famous opening chord of Beethoven’s Fourth Concerto, you knew that something special was going to unfold. The work is not a virtuoso vehicle for egotists but presents all manner of challenges in terms of poetry, narrative and dialogue… Perianes’s encore – Chopin’s A minor Mazurka, Opus 17/4 – lingered unforgettably in a world of half-lit melancholy. I cannot wait to hear Perianes again.” (Classical Source, March 2015)

“At once it was clear that we were going to hear a very expressive account of the concerto, for those first notes were played by Perianes with exquisite tenderness, and Ticciati’s response and his conducting of the opening tutti in general was acutely sensitive. And as the movement progressed a fine balance was struck between intimacy of expression and clarity of execution, with Perianes producing an attractively clean, sparkling tone quality. His account of the cadenza had a certain authority of presentation: though phrased flexibly it seemed for the moment that this was the only way to play the music.” (Seen and Heard International, March 2015)

“Javier Perianes gave a magnificent performance of the Ravel Concerto in G major, with impeccable technique as well as great musical inspiration. From the beginning the bright glissandi and incredible finesse of his arpeggios blew the spark that electrified the atmosphere between stage and audience […]” (Julián Carrillo, EL PAÍS, March 2015)

"There is a lovely luminosity to Perianes’s tone throughout this repertoire, together with a poised romantic temperament that chimes in ideally with Mendelssohn’s turn of phrase. Lyricism is the crux of the music, but, as Perianes shows, there is also a winning variety of colour, mood and atmosphere." (The Telegraph, January 2015)

“There is absolutely no question that the performance of the night belonged to the young Spanish pianist Javier Perianes, whose playing of Saint-Saens' Fifth Piano Concerto, The Egyptian, was a tour de force of flamboyance and fun, with a staggering technical display in music that, at points, veered between a Tin Pan Alley and a Hollywood yet-to-come. The audience, quite rightly, went nuts for the young lad…” (Herald Scotland, December 2014) 

“In Saint-Saëns’s fifth piano concerto, also known as the Egyptian, Javier Perianes clinched the score’s weird balance of crisp classicism and pseudo-exotic whimsy. The Spanish pianist has a bright touch, breezy virtuosity and a knack for arresting intimacy in quiet passages that earned a huge cheer from the audience.” (The Guardian, December 2014)

“Very gripping indeed, though, was the astonishing playing of young Spanish pianist Javier Perianes in Saint-Saëns’s rarely performed “Egyptian” Piano Concerto No. 5 Sometimes fiery, sometimes limpid, never less than thrillingly vivid, Perianes seemed to stand out in neon colour against Pintscher’s cool orchestral backdrops, and he made what’s a rather lightweight oddity sound profound and scintillating. It helped that he was a natural showman, big on charisma, but it was his impeccable technique and his effortless control of light and shade that really marked him out. An energetic, passionate performance, and the evening’s highlight.” (The Scotsman, December 2014)

“The next work on this programme was Camille Saint-Saëns’ Fifth Piano Concerto Op. 103, known as the ‘Egyptian’, since its last two movements were composed during the composer’s stay in Egypt. It featured the Spanish pianist Javier Perianes. This is a concerto built on variety and continuous change, and is not often programmed. Indeed, the last time the BBC SSO performed it was in 1983. Saint-Saëns’ work is full of variety, mixing Lisztian moments of virtuosic piano writing with more rhythmic, physical and pulsating moments. The work can come across as somewhat unstructured and improvisatory, with some occasionally uninspiring musical material. It is to the performers’ credit that they injected life, energy and drive into this work. Perianes gave a performance full of poetic brilliance and characterised by virtuosity of the highest order. Poignant moments alternated with dramatic statements of pianistic force supported throughout by Perianes’ nonchalantly dazzling displays of brilliant playing.” (Seen & Heard International, December 2014)

“…Pianist Javier Perianes is a player of growing international reputation. His poetic interpretation of Camille Saint-Saëns Piano Concerto no. 5, “The Egyptian”, completely won over the Glasgow audience. The concerto was mostly inspired by the composer’s visit to Egypt and – while deliberately non-Wagnerian – it looks forward to a jazz age in parts. Guiding us through the three movements, Perianes demonstrated flamboyance and utter enjoyment as he painted the exact French light and shade required, ending in a helter-skelter of brilliance. The crowd brought him back several times to take his bows, and we were rewarded by a haunting, meltingly beautiful performance of Grieg’s Nocturne Op.54 no. 4.” (Bach Track, December 2014)

“Performing Grieg’s Piano Concerto may not be the most visionary way for the BBC Symphony Orchestra to spend its corner of the corporation’s public money, but in Friday’s concert, with Grieg surrounded by other familiar works, the orchestra sounded so well-nourished and spry that I’d have happily heard them play anything, even Scheherazade. Heat, strength, delicacy, suave togetherness, fragrant tones: the virtues kept coming, no matter what Sakari Oramo conducted. Besides, the Grieg gave us the chance to appreciate the pianist Javier Perianes, performing after a Spanish tour with the orchestra. If he didn’t make me feel that I was hearing the concerto for the first time, he still refreshed its pathways with delicious vigour, power that never became bullying, poetic sensitivity, and a confident rapport with the musicians around him. And his Chopin encore, the C sharp minor Nocturne, spread its own limpid magic. Perianes should perform in Britain more often.” (The Times, October 2014)

“The main work was Grieg’s Piano Concerto in A minor, a warhorse in some hands but not here thanks to the soloist Javier Perianes and conductor Sakari Oramo. Arriving on stage like a man in a hurry, once at the keyboard the Spanish pianist was expansive but never indulgent. His crisp attack in the famous opening came allied to generally warm pianism, and his view of the work was matched by Oramo in the breadth the conductor gave to the big tunes. An unusually introspective first movement reflected the work’s debt to Schumann’s concerto in the same key, with Perianes tracing some delicate filigree. His cadenza was a slow-burning affair, confirming him as a poetic player with rock-solid technique but no tendency to pummel the piano. Grieg saves most of the Norwegian spirit for the second and third movements, delivered with enough hushed delicacy and dancing freedom to make this ultra-familiar work sound fresh. No one here could have regretted the safe programming, though it would be nice one day to hear a London orchestra substitute one of the concertos by Tellefsen, Chopin’s great Norwegian pupil, for the Grieg. Chopin himself featured in Perianes’s encore, the posthumous Nocturne in C sharp minor.” (The Telegraph, October 2014)

“The score, in fact, demands the impossible: a singing, legato line from a percussion instrument. Javier Perianes did that, making the piano sing and sing beautifully. Here is a young pianist to watch. The majestic orchestral Allegro was a tease under Vanska’s baton, with the powerful NWS strings already hinting at the seduction to come. From the piano’s entrance, Perianes dominated the proceedings just as Chopin demands, with a delicate rubato that was never mannered but rather heartbreaking, always surprising and always right. Conductor and soloist seemed to breathe together here and also in the central movement, where the hushed strings merely ushered in not only the piano line but also the birth of Chopin’s later music. That the first few bars could easily serve as a prelude to a bel canto aria is no accident, and both Vanska and Perianes got this, letting the cadenza happen as naturally as a young lover’s impetuous embrace. Here and later in the Sibelius, Vanska made the silences count. For his part, Perianes captured the soul of the music, his tone at once assertive and delicate. Here, and in the Chopin Nocturne he gave as an encore after a rapturous standing ovation, he brought to mind the young Ivo Pogorelich, and most of all the great Brigitte Engerer, who passed away recently.” (Artburst Miami, November 2013) 

“Perianes debuted with the New World two seasons ago and created so strong an impression among musicians and audiences alike that his reengagement was assured. His performance of Chopin’s Piano Concerto No. 1 in E minor (Op. 11) proved that the initial euphoria was totally deserved. Perianes processes virtuosity to burn. Chopin’s rapid runs, arpeggios and triplets were dispatched with flair and dazzling technique. What really distinguishes Perianes from the many gifted young pianists on the contemporary concert radar, however, is the depth and soulfulness of his playing. A true poet of the keyboard, Perianes is a born Chopin player.” (Palm Beach ArtsPaper, November 2013)

“Perianes approaches Beethoven with a freshness and individuality that is immediately engaging. The opening movement of Sonata No. 12, Op. 26 demonstrates some exceptional qualities, most obviously his ability to maximise contrast and characterisation between the different variations; he produces a beautifully veiled tone for those passages of a more reflective nature.” (BBC Music Magazine, December 2012)

“KKL Zubin Mehta and the Israel Philharmonic Orchestra go for the spectacular. The great discovery, however, is a young pianist... Russian melancholy came face to face with Spanish nostalgia on the second afternoon. The culminating moment arrived with Manuel de Falla's Nights in the Gardens of Spain with pianist Javier Perianes. As "primus inter pares" (first among equals) with the orchestra, this Lucerne debut was a revelation. Perianes' touch is incredibly gentle and sensitive. This confers on the music clarity and intimacy without any loss of expressive power. Perianes is not a virtuoso full of vigour: he is instead a poet at the keyboard. For an encore, he offered a delicate mazurka (Op. 7, no. 4) by Frederic Chopin." (Roman Kühne, Neue Luzerner Zeitung, September 2011)

“This young Spanish pianist proves himself a natural Schubertian in the Impromptus (D.899). He is beautifully recorded so that the nuances of his playing can be fully appreciated. The disc also includes the Klavierstücke (D.946) and the less well-known Allegretto in C minor (D.915), a wonderful piece all the more compelling for being understated. Perianes’s playing captures its magic to perfection.” (Sunday Telegraph - Schubert: Impromptus, Allegretto Harmonia Mundi HMI 987080, February 2008)