CD-REVIEWS 1st CD PIANO JOURNAL - London Review of the Compact Disc by Paul LANFEAR Susanna Artzt`s tone colours are second to none. Her playing of the first book of Images is everything one could wish for: wonderfully paced, without any superficial mannerisms and an impeccable command of texture. L`isle joyeuse receives here an unhurried treatment that is allowed to build naturally to its ecstatic closing bars without the music becoming engulfed in its own virtuosity. In Artzt`s hands the piece certainly seems to prepare us for the Scriabin sonata that closes the disc. Estampes receives again an immaculate performance in which the sheer beauty of tone, superbly captured in this recording, leads one to hang onto every note this pianist plays. Her Pagodes and Soiree dans Grenade are as evocative as her Jardins sous la pluie is highly charged. From gardens in the rain to the gardens of the Villa Medicis, where 21-year-old Lili Boulanger spent three years before the outbreak of war in 1914. The Trois Morceaux date from that final year and this short triptych is a significant work in the oeuvre of a composer who was sadly to die only four years later. The first piece is the most harmonically daring and clearly has its antecedents in the second book of Preludes by Debussy, although Boulanger`s musical voice is distinctly her own. Susanna Artzt captures the uniqueness of this voice perfectly; from the elusive melancholy of the first piece, through the child-like serenity of D`un jardin clair to the joy and vitality of Cortege. Perhaps the impression one is left with is of the extraordinary feeling of nostalgia for childhood expressed by a composer so young. A similar degree of retrospect is implicit in Scriabin`s op.16 Preludes and this is certainly brought out in Artzt`s interpretation. In this case, of course, it is to Chopin rather than Debussy to which the composer looks back, albeit through the prism of Mussorgsky. Again the pianist`s superb control of dynamic shading allow her to articulate each melodic idea with both subtlety and clarity. This is even more the case in the Sonata. By keeping the virtuosity of the piece in check she reveals more detail and succeeds in arriving at all the peaks without the excessive accelerandi that so many pianists rely on to achieve the climaxes. This is not Scriabin played with complete abandon, but with the exemplary poise and control that seems to be so appropriate here, given the context provided by the other works on the disc. A thought- provoking recital by a magnificent pianist. ______________________________________ RONDO-Magazine - BRD Susanna Artzt is indeed a very tasteful Debussy interpreter. No single detail should dominate the whole. Whoever listens to the first book of “Images” or “Estampes” will have to admire such a fullnes of tone, such finely tuned grades of the piano passages, such a delicate use of the pedal that the names of the famous pianists spring to mind. It is not only that this playing on the piano is cultivated, it is also original. Matthias KORNEMANN ______________________________________ WESTDEUTSCHER RUNDFUNK, WDR 3 Maybe it is the „multi-national“ background of Susanna Artzt (forgive me this hackneyed expression) that makes her CD so rapturous. No incompleteness or compromises here. Her music is clear without being shrill, articulate without being pedantic, lively without haste, contemplative without being boring, and all this all of a sudden on a completely unpretentious new recording. You never get the impression that there is an artificial „interpretation“ imposed between the music and the listener, rather what you hear comes in its natural musical order; this music arises in a strikingly natural way, as if it had just been written down by its composer. Susanna Artzt disposes of undisputed lyrical possibilities on the piano as well as a virtuoso´s hand, that makes the highest demands on a pianist appear as a play of ease and laughter. Susanna Artzt’s masterly interpretation - I cannot say this otherwise - of piano works by Claude Debussy, Lili Boulanger and Alexander Scriabin, is, by the way, also perfectly recorded. A grand CD. Hans WINKING ______________________________________ PIANO NEWS CD chosen as „CD of the month“ As a pupil of Paul Badura Skoda, after winning several competitions and performing highly praised concerts, here we have the first CD of this young pianist Susanna Artzt, who lives in Austria. And what debut! In many respects she gives credit to the premature praises, which were conferred on her by the press on her first concert tour through Germany in 1999. On the one hand it is unusual, that a CD recording is not made on a classical grand piano, but on a smaller one (in this case it is the Bösendorfer 225) which however under the fingers of Artzt creates an almost sinfonic sound. Considering the interesting programme, which this young pianist has chosen, the necessity for thundering sound is very rare. With Debussy’s „Images“ and „Estampes“ as well as his „L’isle joyeuse“ she pours out flowery worlds of sound, extremely transparent and clearly accentuated, with much emotional depth. Cultured touch is the magic word, with which Susanna Artzt’s play can be characterized. At the same time she accentuates with fascinating tension, so that these well known pieces - freed from too much icing and transfiguration - sound in a fascinating novelty. And there is something else remarkable in that recording: Lili Boulanger’s „Trois Morceaux“, which are recorded very seldom. In these pieces the composer takes up Debussy’s stile and lets it develop in the direction of Poulenc. With these 3 miniatures, too, Artzt’s play fills us with enthusiasm. In the end the pianist, moreover, proves her knowledge of different means of expression: with the interpretation of Scriabin’s 5th sonata. Here she so convincingly conjures up the world of sound of the spirit of this Russian, who was always searching for the new, achieving it with that swinging between lyricism and vehement outbreak, so that one can almost speak of a new understanding of this work. Bravo! Carsten Dürer Interpretation: 6 Sound: 6 Repertoire: 6 (This is the maximum in all three categories) ______________________________________ KURIER - Vienna Joy of discovery If you are interested in rare recordings, you may well find them amongst other piano recitals or from other record companies: Susanna Artzt plays very clearly structured, with superior technical skills and with subtly differentiated tone colours works by Claude Debussy, Alexander Scriabin and also three little pieces by Lili Boulanger (1893 - 1918). Lili’s enchantingly pointed miniatures give an impression of which new directions this young lady might have taken away from Debussy (as Satie or Poulenc did later). (Lili Boulanger died at the age of 25) Karl LÖBL ______________________________________ KLASSIK HEUTE Susanna Artzt presents a winning performance, which stimulates your appetite for hearing her in concert ... a remarkable recording. Peter COSSÉ ______________________________________ ÖSTERREICHISCHE MUSIKZEITSCHRIFT Susanna Artzt uses her nimble, supple skill for a vivid and unsuspiciously pleasing performance of Debussy... Her decision to put some French rarities – namely the 3 delightful small pieces by Lili Boulanger - in between the works of Debussy and Scriabin, show her discographic prudence. Susanna Artzt succeeded in presenting a recording that points to her certainly hopeful future. ______________________________________ CD-REVIEWS 2nd CD WIENER CHOPIN-BLÄTTER Journal of the International Chopin Society in Vienna „The poetry of dance in sound – and rarities rediscovered“ This would be a fitting description of „La Valse“, the latest CD to be released by the Austrian pianist Susanna Artzt. Maurice Ravel's great piano composition La Valse (Poème chorégraphique pour piano seul) opens this hour of music in three-four time and provides further evidence of her great pianistic accomplishment when it comes to structure and subtlety of sound. Judiciously she concludes the recording with the Menuet sur le nom d'Haydn and the Menuet antique which display how masterly both composer and pianist are in early music and counterpoint. Frédéric Chopin's Three Waltzes op.64 Nos.1- 3 (the „Minute Waltz“ in D flat major with its fascinating perpetuum mobile, as well as the C sharp minor and A flat major Waltzes) are uplifting throughout – the sounds close at hand but issuing from „another world“. Of the 14 pieces on this CD eight are world premiere recordings! The Waltz Impromptus op.9 Nos.1 and 2 by Franz Schreker (1878-1934) are delicately articulated pieces of positive-sounding melancholy which turns in on itself or bewitches the listener with strikingly enchanting melodies. From Franz Xaver Mozart (1791-1844), the youngest child of the great Wolfgang Amadeus, we have the Six Polonaises mélancoliques op.17. His teachers Joseph Haydn, Nepomuk Hummel, Antonio Salieri and Georg Albrechtsberger ensured that, at the age of seventeen, he was artistically equipped to leave Vienna for Poland (Lviv) where he made a career as a composer, house tutor and the founder and director of a choir for almost 30 years. The very interesting and fine-sounding six Polonaises could be briefly characterised, perhaps, as follows: „A song of melancholy“, „Faint echoes of Chopin“, „Euphonious determination“, „If it must be, then so be it!“, „Explanation as to why melancholy“, „Search for help growing more urgent“. The pianist has earned our gratitude, not only for her first-class musicianship, but also for her discovery of rarities. Helmut Batliner (Gramola Nr.98809) ______________________________________ ÖSTERREICHISCHE MUSIKZEITSCHRIFT A high standard of instrumental playing and interpretational ethos: it is not hard to sound the praises for pianist Susanna Artzt, who has now somewhat daringly released a collection of waltzes for the increasingly active label Gramola. It offers well-known works by Chopin and Ravel side by side with charming, now largely neglected polonaises by Franz Xaver Mozart and waltz impromptus by Schreker that are also seldom performed: an Austrian pianist who knows what she wants and who possesses the ability required to lend form and sound to what it is she wants. Peter Cossé ______________________________________ PIANO NEWS An extraordinary talent Three years ago Susanna Artzt’s debut CD was voted CD of the month by PIANO NEWS. In the current edition you can read a cover- story interview with Susanna Artzt about her career, her new CD and much more. Here are two excerpts from the interview: Susanna Artzt had already come to our notice when she brought out her first CD. This CD, containing works by Claude Debussy, Lili Boulanger and Alexander Scriabin was immediately named CD of the month. The editors were particularly impressed by her highly nuanced phrasing and extraordinary richness of tone. When she was a guest at the Bechstein Centrum in Cologne in September last year, we took the opportunity of speaking to her about her career so far and how she sees things. Susanna Artzt has plenty to do: she has already made a name for herself in Austria and feels she is “breaking through”. But she remains realistic: “I see what I do as a calling, a blessing. This difficult path has brought me incredibly far.“ Susanna Artzt also plays a great deal of chamber music, and prepares a number of different programmes each season. After our meeting and conversation there is no doubt in our minds: this pianist will make her way; there is more and more that she will be able to accomplish. This is because Susanna Artzt is a thoughtful, serious musician for whom playing is a joy. And you can hear that. _____________________________________ _____________________________________ YOUNG TALENTS PROMPT UNUSUAL  CONSIDERATIONS: PROBLEMS WITH THE  MASTERS  Being a wunderkind can often be an  unpleasant life-long task for an artist or  scholar. It is not uncommon that creative  powers during youthful years are regarded  sceptically: „This young person or child is  dealing with things well beyond his/her  years. With this way of life, the boy or the girl  may well advance to the status of a „young,  rising star“, but later their lives will become  empty, if their dreams don´t come true.“ But all these are merely half-truths! We all  know many examples from music history of  great artists who were already showing their  wondering skills in their very young age.  Again and again in this context we find  Mozart´s father reporting to his wife in letters of the constant new accomplishments of  their son Wolfgang Amadeus (fortunately,  these reports have been saved in archives).  He writes, for instance, of how Wolfgang,  during their many travels, was learning  Italian and other European music, and that  „just EN PASSANT“, that is to say, without  making any effort whatsoever - or, as Plato  puts it in a wise saying (in which of course  he is referring to the greatest talents), „When we learn something, it´s as if we were  remembering it“. [...] I pondered these things a few days ago  while I was sitting in the Croatian Music  Society Hall („Hrvatski glazbeni zavod“) and  listening to the concert given by the young  pianist Susanna ARTZT. At the age of  eighteen - when in best case one begins his  or her studies - she played her Diploma  Recital, i.e. the requirements to fulfil the  „Master“ level, which corresponds to the  highest level for piano soloists which one  can reach, as graduate student at the Zagreb  Music Academy, the highest music-education  institution in this country. I had to admit to  myself that ... I had completely forgotten that  I was actually attending a performance by a  student who is completing her studies! I was  surprised and swept away! ... We´ll always be  swept by such talent!    Mladen Raukar
"...the Korean Chamber Orchestra, specially flown in for the festival event,  is in fact one of the most accomplished ensembles in South Korea.  Conductor Min Kim, with the Austrian Mozart specialist Susanna Artzt at the  piano, brought out the full splendour of the Salzburg composer's D minor  concerto KV 466.   Artzt's brilliant piano playing, so warm and strong, suffused the beautiful  interior space of the church – this interpretation made one almost sense the presence of the divine." _________________________________________________________________  That not only father Leopold and his famous son Wolfgang Amadeus but also grandson Franz Xaver composed fine music can be attested by concert goers who heard the attractive and discerning programme performed by the Polish Chamber Philharmonic Orchestra Sopot under Wojciech Rajski and pianist Susanna Artzt in the Schlosskirche church in Weilburg. ...Even nicer when an outstanding artist like Susanna Artzt espouses a piano concerto by this unjustly forgotten composer. A substantial, virtuosic first movement, an Andante – a song without words – and a dance-like Rondo offered the young pianist plenty of opportunity to demonstrate  her prodigious technique and her sensitive handling of form and structure. She responded to the enthusiastic applause with a magical interpretation of a waltz by Frédéric Chopin. _________________________________________________________________  22 March 2016 REICHENHALLER TAGBLATT  by Barbara Titze  Tonight Wolfgang Amadeus would no doubt have been very pleased with  his gifted son, whose Concerto for Piano and Orchestra in E flat major op.  25 – with the superb Susanna Artzt at the piano – had no reason to hide its  light under a bushel when it followed on from father's delightful Serenade  No. 6 in D, KV 239, the "Serenata Notturna".  Father's influence on Franz Xaver's music cannot be denied in the Piano  Concerto. The now dreamy, now melancholy, now again merry and  vivacious piano passages with long, difficult runs and complicated loops  demanded the utmost skill from the young pianist Susanna Artzt, and her  artistry was rewarded by the audience with enthusiastic applause. The  young pianist, who has already won several awards, was personally invited  by Zubin Mehta to perform in concert with him.  After her sensational  success he declared, "I am convinced she will have a great career" – a great commendation by the master.  At this evening's concert she gave a fine-toned rendition of the gorgeous  Waltz in C sharp minor op. 64 by Frédéric Chopin as an encore; in the  interval afterwards she gave autographs and chatted with members of the  audience amiably and quite unaffectedly. _________________________________________________________________  Pianist opening up new expanses by Martina Dreisbach Pianist Susanna Artzt carries audience away at Chopiniade   The familiar and the rare, cheerfulness and melancholy. Susanna Artzt  performed piano works by Mozart, his son Franz Xaver, and Chopin in a  virtuoso recital at the Chopiniade on Tuesday in the Municipal Hall. Susanna Artzt makes a reflective start to the Rondo in A minor KV 511.  Using the minor key, Mozart dampens down the normally cheerful spirit of  the rondo, imbuing it with a melancholy note. The pianist takes a serious  approach but plays it without larmoyance. In the following Rondo in D, KV  485, Mozart uses a theme from Bach, although it is amplified more, with  added dialogues and plenty of imaginative ideas. The Tuesday night audience at the Chopiniade in the Municipal Hall were  fully won over by an artist whose playing had such finely judged  expression. Based in Vienna and born in Croatia into a family with Indian  roots, Susanna Artzt plays in major European concert halls. She has won  several awards and has performed under Zubin Mehta in Munich. In his introduction, music critic Gerhard Schroth described the start of the  recital featuring well known and seldom heard pieces as heavyweight. Franz Xaver Mozart, born in the year of his father's death, 1791, achieved  something really new in the Polonaises mélancoliques Nos 1 to 3 in spite of  the burden his great father represented, as Schroth pointed out. Equally  dazzling the Sonata in B flat major KV 333 by W. A. Mozart. Susanna Artzt  plays with a sublime but utterly unmannered tone, technically brilliant but  never too sporty, and with constant poise. In the Polonaises, Mozart's son had already sounded the romantic note that  pervades Chopin's Nocturnes op. 9. Waltz-like, by contrast, the Mazurkas  op. 17 Nos 1 to 4 with their stronger rhythmic contours.   Then comes Chopin's Ballade in G minor op. 23, the ballade par excellence,  as Gerhard Schroth put it. The pianist opens up new expanses, places the  notes with utmost care, chants, lets herself be carried by the music, and  carries the listeners away. Long applause followed by the exquisite  Nocturne in C sharp minor No. 20 for more than just the night to come.  Article dated 3 March 2016 _________________________________________________________________  Superb Chopin anniversary concert by Susanna Artzt  On the anniversary of Fryderyk Chopin's birth the young pianist Susanna  Artzt presented a remarkable programme with some choice, rarely played  pieces at the Stadthalle. In the concert, Mozart's city of Vienna, where the  pianist herself lives, and Paris, the adoptive home of the Polish musical  genius from 1831 until his death in 1849, were coupled and connected by an  intelligently dichotomous programme.  The first part was devoted to the Mozart family, father and son. Admitted to  the Academy of Music in Zagreb, the young musician of Indian ancestry was  discovered at the age of 16 as an extraordinary pianistic talent by Paul  Badura-Skoda. She has gone on to win several prizes, give many fine solo  recitals, and perform under Zubin Mehta in Munich in a sensational  rendition of Saint-Saens' 2nd Piano Concerto.   She began her concert with heavyweight rondos by Mozart, the muted A  minor Rondo KV 511 followed by the cheerful one in D major KV 485. With  this opening to a subtly programmed concert, which she played from  memory with graceful fluency and lightness of touch, she won the audience  over right from the start. After the rarely heard works, the three Polonaises  by Franz Xaver Mozart, came the resplendent Sonata in B flat major KV 333  by his father. The second part was a homage to Fryderyk Chopin to mark the 206th  anniversary of his birth. We heard, delicately performed, the bewitching  Nocturne op. 9 with its atmospheric depths, as well as the starkly  contrasting Mazurkas op. 17, interpreted with utmost sensitivity in major  and minor. The grand finale and crowning glory of the programme, played  with great concentration by this young star in the pianistic firmament, was  the masterly dramatic Ballade G minor op. 23, famous for its exceptional  melodic beauty. The enthusiastic audience was treated to an encore,  Chopin's short, dreamily rendered Nocturne in C sharp minor No. 20. By  scheduling a concert by this engaging, highly talented pianist, the Chopin  Society's honorary president, Ilse Schwarz-Schiller, once again ensured  that the anniversary of the birth of its household god was celebrated on the  highest possible level – as every year since 1999. Photo: Susanna Artzt playing with great concentration at her Stadthalle  recital _________________________________________________________________  Brilliant pianism  Klangraum festival | The Arsio Piano Duo play Brahms, Chopin and Mozart  in Schloss Seisenegg Leopold Kogler SEISENEGG | Susanna Artzt and Manfred Wagner Artzt, who together form  the Arsio Piano Duo, are magicians of the keys who bewitch the audience  with special and surprising concert programmes. The music gushes forth  from deep inside the two of them, without frills or theatricality. And so the  recital they gave in Seisenegg castle on Sunday afternoon the week before  last as part of the "Klangraum im Herbst" festival was a brilliant one.   The musical framework was provided by Johannes Brahms. At the start we  heard a selection from the Requiem, and marvelled immediately at the  pianists' crystal clear touch. In terms of emotionality, too, nothing fell by  the wayside. The next piece was the Lento meditative from Scelsi's Sonata  No. 2. Here, too, there were no grand gestures, merely brilliant pianism and  technical finesse. Hearts were moved in particular by the interpretation of Mozart's Fantasy in  D minor. A very special piece of music that was made to scintillate – as was  the Sonata in B flat major for four hands. Everything in their rendition was  convincing and unpretentious and at the same time fresh and full of vitality.  In between were pieces by Chopin – virtuosity and rightness throughout. And then there were the encores. The evening was a musical delight and  the many guests showed their appreciation by tumultuous applause. _________________________________________________________________  Robert Voglhuber 2 OCT. 2015 Superb technique and highly nuanced tone colour Autumn festival hosted in Schloss Seisenegg On Sunday 27 September, the Arsio Piano Duo played works by Brahms, Scelsi, Mozart and Chopin in the culture centre at Schloss Seisenegg. The concert was part of the 2015 "Klangraum im Herbst" festival under the motto "Mourning – Joy – Finitude" and the artistic directorship of Thomas Bieber. The historical castle offered a romantic setting for an impressive evening recital by the piano duo Susanna Artzt & Manfred Wagner-Artzt. In beautiful, arching melodic lines the duo made the Mozart Sonata in B flat major for four hands brim over with vivacity and lively wit, an admirable rendering of Mozart that is very close to the two artists' audibly optimistic disposition. The Chopin interpretations, too, were creative and highly expressive in their emotional breadth. The Fantasie-Impromptu in C sharp minor op. 66 sounded quirkily playful. The Polish composer's music is as temperamentally well suited to them as Brahms'. The Sixteen Waltzes were on the programme, played in masterly fashion by the Arsio Piano Duo and shot through as it were with the spirit of the new attitude to life among people of the 19th century, who managed not only to shake the thrones of sovereigns but also to lay bare the laws of nature's mysteries. _________________________________________________________________  Wiener Chopin-Blätter, 2014/2 30 years old and still going strong! A more than worthy celebration of the Chopin Festival at the Kartause, Gaming. …30 years of the Chopin Festival in the municipality of Gaming, organized by the International Chopin Society in Vienna – now if that's not a reason to celebrate! … ...  And sure enough in its special 30th anniversary edition the Chopin Festival in Gaming presented, as in previous years, a firework display of artistic excellence. … Also belonging to the category "perfection" was the orchestral concert in the Kartause church. On the one hand the conductor: Mário Kosik had the high-precision Slovakian Radio Symphony Orchestra superbly under control. The same unerring touch was displayed by the soloist in Wolfgang Amadeus Mozart's Piano Concerto KV 488. The outstanding Viennese pianist Susanna Artzt made the A major Concerto truly sparkle, its original cadenzas effervescent, its middle movement elegiac, so beautiful you could cry. _________________________________________________________________  Frankfurter Allgemeine Zeitung, 28 July 2014, No. 172, p. 36 A visiting card from Franz Xaver Mozart ...yet Franz Xaver had no need of his father's giant footsteps: his Concerto for Piano and Orchestra No. 2 in E flat major, composed in 1818 and presented in Weilburg by the Croatian pianist Susanna Artzt in a completely convincing interpretation, keeps at some remove from Wolfgang Amadeus Mozart's art, except for a few phrases in the Andante espressivo; indeed it decidedly anticipates Romanticism and is a composition of such high calibre that one again has to ask oneself why hardly any pianists have it in their repertoire... _________________________________________________________________  Frankfurter Neue Presse, July 30th, 2014 No Mozart is alike by Anneke Jung The Polish Chamber Philharmonic Orchestra and Susanna Artzt presented the Mozart family in a concert at the Weilburger Schlosskonzerte festival. Pianist Susanna Artzt gave an elegant and flowing rendition of Franz Xaver Mozart's piano concerto, sensitively accompanied by the orchestra. ... But very few people know of the son, and if they do then it's by name only. That he's worth listening to closely was demonstrated by the concert of the Polish Chamber Philharmonic Orchestra conducted by Marcin Nalecz- Niesiolowski with the Croatian pianist Susanna Artzt. Quite why the works of Franz Xaver have been largely forgotten is hard to understand when one hears the accomplished Piano Concerto No. 2 in E flat major. After the opulent orchestral introduction the listener is treated to virtuosic rippling runs and lovely melodies. In the slow movement the melancholy mood is as appealing as the fine-sounding dialogue of the woodwind with the piano. A carefree, sometimes folk-style rondo brings the composition to a close. Susanna Artzt's interpretation of the three movements was elegant and flowing, so that even with closed eyes one would have guessed it was a woman at the keyboard. With an unstrained virtuosity and without any muscular display she placed the music and not herself in the centre of the picture. The musicians in the orchestra responded to this without difficulty and provided a subtle accompaniment that, thanks to the compositional structure, left them ample scope to play with a fuller sound. There was plenty of applause plus a Chopin waltz as an encore, executed with sublimely sensitive musicianship. NEW RELEASE  Mozart³" Order N°: or 0009  orlando records by amazon or at  WOLFGANG AMADEUS MOZART  sonata in B flat major K 333  sonata in F major K 332  sonata in C major K 330  _________________________________________________________________  PianoNews 4-2014:  Wolfgang Amadeus Mozart  Piano Sonatas No. 10 KV 330, No. 12 KV 332  and No. 13 KV 333  Susanna Artzt, piano  Orlando Records or 0009 (distribution: Naxos)   The Croatian-born, Vienna-based pianist Susanna Artzt, who was  discovered by Paul Badura-Skoda, is one of the most promising talents of  the younger generation of female pianists. Playing with supreme facility and  great delicacy of touch, she here performs the Mozart sonatas KV 330, 332  and 333 with lots of imagination and many poignant moments. Fine dynamic  nuancing, unhurried tempi, and clear and intelligent phrasing characterise  this young woman's playing. The trills effervesce so lightly; and Artzt often  holds the final chords right back, as in the opening Allegro of Sonata No. 13  KV 333, leaving a movement almost in suspension the moment it dies away.  No caesura seems inappropriate, no ritardando overdone. Just how one  would like to hear Mozart. Ernst Hoffmann  _________________________________________________________________  Chosen as "CD of the day" by:  _________________________________________________________________  Classic CD  Susanna Artzt: Mozart Sonatas  Mozart as though for Valentine's Day        Susanna Artzt: Mozart Sonatas, Orlando records  (dawa) The KV 330s sonatas by Wolfgang Amadeus Mozart – and rarely  have they sounded more graceful and elegant. The Vienna-based pianist  Susanna Artzt is highly regarded in this country for her approach to the  pieces she plays: thought through to the smallest detail. True to form, in "her Mozart" the ethereal-intellectual element prevails with  razor-sharp finesse. And that's how it should be. Nothing flashy, nothing  superficial adorns these interpretations. In the B flat major Sonata KV 333,  for instance, she changes her narrative style from reserved sentimentality  to final joviality, keeping her composure at all times as is proper. The F major Sonata KV 332, with its opening alternation between  unconditional major tonality and minor-key dramatics, presents itself to the  listener as an airily played succession of variants, with drive right from the  start. Enchanting, especially the splendid hunting theme. Equally, in the  popular C major Sonata KV 330 the Austrian pianist demonstrates not only  her affinity with, but also her aptitude for the Vienna Classics domain. In the  effervescent closing Allegretto, Artzt offers a compelling display of sure-  handed technique. A worthwhile recording since it's a really loving rendition and one that doesn't strain after effects. _________________________________________________________________  WAZ   Mozart takes music into unearthly fields The pianist Susanna Artzt stood out brilliantly with a touch, which seemed  to be light as a feather and effortless even at the most difficult arpeggios  and scales. This music seemed to hover far above earthly fields, Susanna  Artzt’s fantasy bestowed it depth and brilliance.  _________________________________________________________________  SÜDDEUTSCHE ZEITUNG  United in success Susanna Artzt played the seldom concerto in g-minor op. 22 by Saint-Saens.  The daughter of an Indian and (former) student of Paul Badura-Skoda  intensified the pathetic g-minor mood of the first movement and impressed  strongly with the virtuoso bravura in the dance-like Presto-Finale.   Klaus P.Richter _________________________________________________________________  DIE PRESSE, Vienna  ENCHANTING PIANO PEARLS  Susanna Artzt, pianist, enchanted in the Brahmssaal of the Vienna’s  Musikverein The pianist Susanna Artzt captivated her audience with Debussy, Scriabin,  and Ravel. To make a journey for one evening, without moving: to immerse  into Asiatic foreign parts of sound, then to sway in the rhythm of Spanish  dances, and suddenly to hear the rain, as it splashes down in a garden in  France. These are the locations evoked by the young pianist with her  sophisticated, subtly differentiating interpretation of Debussy`s piano cycle  „Estampes“.  In the emotional restraint, in the sustained piano, the curbings of a roaming  thought are shown... Extremely passionate then Maurice Ravel`s „La Valse“.  Susanna Artzt had worked out exquisitely the often abruptly changing  impressions in the works of Debussy, now we had the breaks of the waltz  melody, crystallizing from an initial, soft tremolo. Tonal steps, dynamic  jumps give the impression of flashlights from other worlds, other  dimensions. They anticipate the drama which gradually plunges forward in  a more and more tormenting way, „the fantastic and also fatal whirl of a  waltz night“ as Ravel commented himself.  _________________________________________________________________  DER YBBSTALER  Arts Section  Susanna Artzt, an Austrian pianist with experience in the international field,  made a good impression with the c # minor Nocturne as a self-effacing and  sensitive interpreter, who enchanted with magical pianissimo and legato.  On the other hand, where Ravel asks for power and impact in his “La  Valse”, she demonstrated her great powers of interpretation, showing an  undeniable affinity with the picturesque soundworld of this daring  Frenchman. It was astonishing, how this first class pianist teased out the highly  complicated and cunning harmonies in this apotheosis of the waltz, how  she lost herself wholly in these swooping and scintillating sounds. The  audience was highly appreciative. Hubert Bauernhauser _________________________________________________________________  REWIEV FROM THE JAPANESE MAGAZINE „CHOPIN“  ... Among all these highlights one artist stood out, the young Indian-Croat  pianist Susanna Artzt, who is now living near Vienna. Already in an earlier  recital, one was fascinated by her performance of the f-minor Ballade of  Chopin, with its finest details mapped out, in which, with remarkable control  she articulated to the full, without for a second breaking the curve of the  phrase, contrasting this with equally convincing, brilliant, passionate,  cascading figures. Susanna Artzt’s interpretation made for the attentive  listener something quite new out of this familiar work. Next day, Susanna Artzt tackled the heights of the piano repertoire with the  fiendishly difficult – and therefore rarely to be heard live - „La Valse“ of  Maurice Ravel. In a certain sense this work presents a logical development  of the valses of Chopin, who produced magnificent compositions in this  dance form, whilst always maintaining a critical relationship with J. Strauss  pêre. Ravel was also aware - and not only after his first visit to Vienna in  1920 – of a considerable gap between Viennese men and Viennese music. In a masterly manner, partly ironic, partly even in caricature, Ravel contrives  to interweave these strands and Susanna Artzt was able to bring them out.  In her hands, the piano was transformed into a whole orchestra full of the  most glittering and varied colours, whereby the „conductor“ contrived to  combine emotional depths, the presentation of dramatic development, and  clear formal structures.   Sumie Ishibashi  _________________________________________________________________  INTERNATIONAL CHOPIN SOCIETY MAGAZINE, Vienna  Noted as an extraordinary sensitive pianist, the Austrian Susanna Artzt  again fascinated us with her „Ballad op.52, No 4, in f-minor“, where the  delicacy we expected, was set off by impressive drama and her excellent  technique, all of which brought tumultuous applause.   Helmut Batliner _________________________________________________________________  RHEIN-NECKAR-ZEITUNG  heidelberger frühling  Music Festival „Prometheus Unbound“ That is how Beethoven might have imagined his music being performed:  dynamic, expressive, passionate, uncompromising. At the same time,  however, highly differenciated, qualified, and concentrated. Music freed  from tradition and conventions. [...] Here Prometheus was successfully unbound. Eckehard J.Häberle _________________________________________________________________  RECKLINGHÄUSER ZEITUNG  „Classic meeting“ with an enchanting Mozart”   „[…] Now we could hear this enchanting work played by Susanna Artzt and  numerous listeners enjoyed her performance, which was distinguished by  sensitive clearness and powerful virtuosity. The soloist played her part full  of tension by using finest dynamic and rhythmic evaluation and well  thought-out agogic. Thus this concert, which is regarded as Mozart’s most difficult work for the  piano, turned out to an extraordinarily high musical pleasure.“  ________________________________________________________________  WAZ  Mozart takes music into unearthly fields The pianist Susanna Artzt stood out brilliantly with a touch, which seemed  to be light as a feather and effortless even at the most difficult arpeggios  and scales. This music seemed to hover far above earthly fields, Susanna  Artzt’s fantasy bestowed it depth and brilliance.  _________________________________________________________________  BUERSCHE ZEITUNG  Matthäuskirche: Philharmonic Orchestra made music with the pianist  Susanna Artzt  The pianist Susanna Artzt, daughter of Indian-Croatian parents, who lives in  Vienna, played the piano concerto with due clarity, sophisticated culture of  touch and definite structure. _________________________________________________________________  RHEINISCHE POST, GERMANY  „Where many pianists can’t resist the temptation to demonstrate their  virtuosity, Susanna Artzt concentrates on underlining the sensibility of the  pieces, and turning their inner lives to the outside. There was cheering  already after the first part of the concert, but the great highlight was still to  come. Susanna Artzt had chosen Schubert’s sonata c-minor D958 as the  final piece. She played it like coming from one single impulse, profoundly,  without artificial showing off of temperament.“   _________________________________________________________________  OBERÖSTERREICHISCHE NACHRICHTEN  BRILLIANT TECHNIQUE SERVING A WIDE PALETTE OF MUSICAL STYLES  „[...] Susanna Artzt played Etudes by Claude Debussy, shaping them with  fine suppleness, allowing the individual character of each to emerge. Then  came a worthwhile diversion onto the conservative „modern“ repertoire,  works by Alban Berg and György Ligeti, followed by Etudes by Frederic  Chopin. Susanna Artzt seems to have a special affinity for this composers  music. With technical perfection she took the extremely difficult  „Revolutionary Etude“ at a breathtaking tempo. This was the work of a  young pianist who will certainly soon make her mark on the classical music  scene!“ _________________________________________________________________