Matthias Kirschnereit - Piano

Matthias Kirschnereit
- Piano

Antonia Paulus
+49 (0)176 64689202

Matthias Kirschnereit ranks among the most exciting German pianists of his generation. He follows the artistic ideal of discovering and conveying a musical variety of sentiments, a narrative expression and the overall human touch of music. His musical basis can be found in the German-Austrian Romanticism: with Schumann, Mendelssohn Bartholdy, Schubert and Brahms. He was awarded the ECHO Classic award for his first ever recording of Mendelssohn’s 3rdpiano concerto in 2009.

Matthias Kirschnereit performes with the Tonhalle Orchester Zürich, the Het Residentie Orkest Den Haag, the St. Petersburg Philharmonic, the SWR Symphonieorchester Stuttgart, the Konzerthausorchester Berlin, the Bamberger Symphoniker, the Camerata Salzburg as well as the Münchner Kammerorchester and collaborates with conductors such as Hartmut Haenchen, Bruno Weil, Christopher Hogwood, Carl St. Clair, Sándor Végh, Michael Sanderling, Frank Beermann, Alexander Liebreich, Yuri Temirkanov and Alondra de la Parra.

His concerts can be heard in the major venues and significant music centers in the world, such as the Konzerthaus Berlin and the Berlin Philharmonic, the Herkulessaal Munich, the Festspielhaus Baden-Baden, the Théâtre des Champs Elysées Paris, the Tonhalle Zürich, the Sala Verdi Milano, the Rudolfinum Prag as well as the Teatro Municipal Santiago de Chile, the Suntory Hall Tokio and the Shanghai Oriental Art Center. At the same time, he attaches importance to chamber musical moments within intimate recitals, captivating the audience with his subtle and intense interpretations.

Matthias Kirschnereit is particularly fond of chamber music. Important personalities like Christian Tetzlaff, Sharon Kam, Alban Gerhardt, Daniel Müller-Schott, Felix Klieser, Carolin Widmann, Ingolf Turban, Julian Steckel, Nils Mönkemeyer, Kit Armstrong as well as the Klenke Quartet, Vogler Quartet and Verdi Quartet are rated among his musical partners.

Since 1997 Matthias Kirschnereit passes on his wide-ranging concert experience and musical as professor at the University of Music and Theater Rostock. Since 2012 Matthias Kirschnereit serves as artistic director of the Gezeitenkonzerte Ostfriesland.

Matthias Kirschnereit – Remscheid

Robert Schumann – "Kinderszenen", op .15

Felix Mendelssohn-Bartholdy – Variations sérieuses, op. 54

Johannes Brahms – Sonate für Klavier Nr. 3 f-Moll, op. 5

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Location: Gemeindehaus der Evangelischen Auferstehungs-Kirchengemeinde Remscheid

Matthias Kirschnereit – Emden

Dogma Chamber Orchestra

Wolfgang Amadeus Mozart – Konzert für Klavier und Orchester Nr. 12 A-Dur, KV 414/385p

Location: Johannes a Lasco Bibliothek

Matthias Kirschnereit – Hamburg

Werke von Brahms, Mendelssohn-Hensel und Mendelssohn Bartholdy

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Location: Elbphilharmonie, Kleiner Saal

Matthias Kirschnereit – Schaffhausen (CH)

Gemeinsam mit dem Amaryllis Quartett

Johannes Merz, Michael Ransburg (Lesung)

Felix Mendelssohn-Bartholdy: Streichquartett Nr. 3 D-Dur, op. 44/1

Felix Mendelssohn Bartholdy – Lieder ohne Worte, op. 67

Robert Schumann – Quintett für zwei Violinen, Viola, Violoncello und Klavier Es-Dur, op. 44

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Location: Kirche St. Johann

Matthias Kirschnereit – Köln

Dogma Chamber Orchestra

Mikhail Gurewitsch (Dirigent)

Ludwig van Beethoven – Konzert für Klavier und Orchester Nr. 2 B-Dur, op. 19

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Location: Kölner Philharmonie

Matthias Kirschnereit – Weingarten

Württembergisches Kammerorchester Heilbronn

Arabella Steinbacher (Violine)

Daniel Beyer (Leitung)

Wolfgang Amadeus Mozart – Konzert für Klavier und Orchester G-Dur, KV 453

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Location: Kultur- und Kongresszentrum Oberschwaben

Matthias Kirschnereit – Cottbus

Philharmonisches Orchester des Staatstheaters Cottbus

Ludwig van Beethoven – Konzert für Klavier und Orchester Nr. 5 Es-Dur, op. 73

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Location: Staatstheater Cottbus, Großes Haus

Matthias Kirschnereit – Holzminden

Kammerorchester des Nationaltheaters Prag

Róbert Farkas (Dirigent)

Felix Mendelssohn Bartholdy – Konzert für Klavier und Orchester Nr. 1 g-Moll, op. 65 (Fassung für Streichorchester)

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Location: Stadthalle Holzminden

Matthias Kirschnereit – Leipzig

Gemeinsam mit dem Carion Bläserquintett

Location: Salles de Pologne

Matthias Kirschnereit – Bad Salzuflen

Nordwestdeutsche Philharmonie

Frank Beermann (Dirigent)

Ludwig van Beethoven – Konzert für Klavier und Orchester Nr. 5 Es-Dur, op. 73

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Location: Konzerthalle Bad Salzuflen

Matthias Kirschnereit – Hamm

Nordwestdeutsche Philharmonie Herford

Frank Beermann (Dirigent)

Ludwig van Beethoven – Konzert für Klavier und Orchester Nr. 5 Es-Dur, op. 73

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Location: Gut Kump

Matthias Kirschnereit – Paderborn

Nordwestdeutsche Philharmonie Herford

Frank Beermann (Dirigent)

Ludwig van Beethoven – Konzert für Klavier und Orchester Nr. 5 Es-Dur, op. 73

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Location: PaderHalle Paderborn

Matthias Kirschnereit – Herford

Nordwestdeutsche Philharmonie Herford

Frank Beermann (Dirigent)

Ludwig van Beethoven – Konzert für Klavier und Orchester Nr. 5 Es-Dur, op. 73

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Location: Stadtpark Schützenhof Herford

"A musician of expression par excellence, whose play carries on a specific tradition of German pianism." This was how the German newspaper Frankfurter Allgemeine Zeitung characterized the pianist Matthias Kirschnereit and the many facets marking his play. Among other things, these include his fresh and inspirational play, his tempered breathing in phrasing, clear articulation and finely dosed agogic.

The artist himself puts it more plainly. "I'm always searching for the human message," says Kirschnereit. "The composers have encoded so much into their work: pain, longing, jubilation, triviality and despair. The more familiar they become to me, the more my admiration for them grows, "I live, feel and suffer with them."

When studying a score, Kirschnereit works strictly analytically – in order to open himself to his own intuition during a performance. His inner compass is always unavoidably directed at finding the ideal phrasing – precisely so and in no other way. Perhaps it is this urgency, beyond that of the universal virtues of the piano, which regularly enraptures the critics to such hymns of praise. "A Horowitz like intimacy," attested the WDR Fono Forum, "passionate and subtle." "Matthias Kirschnereit conjures forth a portrait of the composers' souls," raved Piano News.

Born in 1962, Kirschnereit has been performing on the stages of Germany and other European countries as well as the Americas and East Asia for more than three decades. He works in close collaboration with the Camerata Salzburg, the Tonhalle Orchestra Zurich, the Münchener Kammerorchester and the New City Philharmonic Orchestra Tokyo, and the number of orchestras is continually growing. In the future, he will debut with the Frankfurt Radio Symphony, the Munich Radio Orchestra and the Orquesta Filarmónica de Gran Canaria. Among his chamber music partners are the violinists Christian Tetzlaff and Lena Neudauer, the horn player Felix Klieser, the clarinetist Sharon Kam, the Cellist Daniel Müller-Schott as well as the Minguet Quartet and the Amaryllis Quartet.

Nearly 40 recordings document his work, beginning with the "Deutsche Musikwettbewerb" prize winner CD in 1989 on to the complete recordings of all the Mozart piano concertos together with the Bamberg Symphony Orchestra under the direction of Frank Beermann, to his most recent album "Concertant," released in 2019, which includes all of the works for piano and orchestra by Robert Schumann, together with the Konzerthausorchester Berlin under the direction of Jan Willem de Vriend.

Schubert, Mendelssohn, Schumann and Brahms are the fixed stars on Kirschnereit's horizon. He is equally devoted to the works of Mozart, Chopin and Rachmaninow, but he also wanders outside of the canonical repertoires; noteworthy are his numerous complete recordings of unknown works by renowned com-posers, such as the piano concerto in E minor by Mendelssohn for which he received the prestigious German music award ECHO Klassik in 2009. He recorded all of Handel's organ concerts with his own arrangements for piano. Again and again, Kirschnereit has presented real finds, such as the piano concerts by Julius Röntgen.

Not only the focus of Kirschnereit’s repertoire identifies him as one pianist rooted in German heritage, but as well the lineage of his teachers ranging from Renate Kretschmar-Fischer on through Conrad Hansen, Edwin Fischer and Martin Krause up to Franz Liszt. He does not, however, wish to be limited to these influences: "Murray Perahia, Claudio Arrau, Bruno Leonardo Gelber and Sándor Végh also had, each in his own way, a profound impact on my work," says Kirschnereit, "although they could have hardly been more different from one another."

His path, was anything but that of a child prodigy, on the contrary – he managed, as he puts it, to establish a carrier as pianist just before it was too late. Between the ages of nine and fourteen, when others were already gaining experience in competitions, he was living with his parents in Namibia, far away from any possibilities of getting the training needed for the profession of a pianist. In 1976, he returned alone to Germany and was accepted as a young student under Renate Kretschmar-Fischer at the Detmold University of Music. "It was a shock to see and hear what my peers could already play," he recalls. Kirschnereit risked everything, leaving without actually graduating from high school. In the end, however, competition successes, such as at the Concours Géza Anda in Zürich, proved him right.

For many years now, he has been sharing his experience and convictions as a professor at HTM, the Rostock University of Music and Drama, with the next generation of musicians. Kirschnereit is passionately committed to the initiatives "Rhapsody in School" and the cultural project TONALi. Since 2012, with the hand-picked program of his "Gezeitenkonzerte" [Tidal Concerts] he has been attracting a growing number of audiences in churches, manor houses and libraries around East Frisia. Eminent artists such as Grigory Sokolow, regularly join this "festival of friends” as Kirschnereit calls it. At the same time, he considers these concerts necessary in or-der to balance out the musical event culture, which he once dubbed with amused detachment as being a "glamorous traveling circus."

Due to his work in Rostock and East Frisia, he earned himself the nickname of “coastal pianist”. He resides with his family in the port city of Hamburg, and when talking soccer, he always remains a loyal supporter of the "green-white" in the maritime North.

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