Der Bund, Bern: 10.08.06
Dreams and Illusion: Menuhin Festival, Gstaad
Two Laureates of the Kiefer-Hablitzel Foundation recently proved, in Gsteig near Gstaad that the new generation of classical music interpreters is well representedSingle Handed Piano Playing
The second part of the concert was devoted to Antoine Rebstein. The young pianist, now 28 years old, has played for the last three years with his left hand only. This promising new generation artist has developed into a performer of note, who really has something to say. This was clearly noticeable in his interpretation of Bach’s Chaconne, a piece originally written for violin and given here in the transcription by Brahms for the left hand alone. Rebstein lent the piece the required depth and strength. The Choral achieved a poignant intensity. After Erwin Schulhoff’s 3rd Suite for piano left hand solo elegantly swaying between Impressionism and Jazz, the evening came to its conclusion in late-romantic sounds : The transcription by Godowsky of a walz by Johann Strauss, materializing in an outflow of ”fin-de-siècle” decadence. Then Antoine Rebstein managed the perfect illusion with a Nocturne by Scriabin. Those who did not look at him would have been convinced that the pianist was interpreting this most intricate and many-sided music with two hands
"Le Temps", Geneva: 23.08.2003.
Piano recital by Antoine Rebstein within the "Lucerne Festival"
« Antoine Rebstein’s magic piano playing »
Pianists are not always spared by Fate. Lausanne-born Antoine Rebstein has had to change the programme he gave last Thursday midday at the Lucerne Festival, due to an injury at his right hand. Since he did not want to squander such a great opportunity he finally gave in the St Lukas church a recital entirely for the left hand alone.His greatest quality is his poetic flair, which predestinates him to the romantic repertoire. His varied touch – full and airy, as well as clear and pure – brings to full tonal completion the six Eudes Opus 135 by Saint-Saëns, those charming pieces full of character. He started his recital with the great Chacone in D minor by Bach that Brahms transcribed into a piano version from the original piece for violin solo. Antoine Rebstein clarifies the polyphonie, clearcuts the melodic lines in souple phrasing. His interpretation of the Gipsy Baron (the theme of the Schatzwalz by Johann Strauss transcribed by Leopold Godowsky) reaches a highly expressive and poetic level thanks also to brilliant virtuosity
Daily "La Liberté": 20. 07 2002.
4. Piano concerto by Beethoven.
The Swiss Musical Youth Orchestra conducted by Jost Meier accompanied the young pianist Antoine Rebstein in a concert given under the party marquee of Morat’s ”Arteplage” in Murten, in the course of the Swiss National Expo 2002. Already Antoine Rebstein’s first chords suffused lyrical expressiveness.
He started with convincing authority and a well articulated but still soft touch while his dialogue with the orchestra had the momentum and refined sensitiveness this spontaneous and expressive musical piece requires. Although the tone of some of the instruments was not always absolutely perfect, the way the orchesra played as a whole, together with the great musicality of the solist, gave credit to Beethoven, particularly in the way they managed to integrate the concluding tutti parts.
Antoine Rebstein interpreted with zest and vigour the second version of the cadenza in a brisk Allegro moderato, in which Beethoven intuitively gives the line of the harmonic developments. The perfectly mastered trills of the young virtuoso managed brilliant crossings between expressive phrasing and technically demanding parts.
The musical maturity of the young pianist became once more apparent in his encore - a brilliant march from ”the Love of the Three Oranges” by Prokofiev.
Marie Alix Pleines
Der Bund, Bern: 04.04.2002
"...Antoine Rebstein, a poet at the piano asserted himself through finely shaded careful tones, internalized spirituality, i.e. as already mentioned poetical expressiveness which lent Schumann’s Introdution and Allegro appassionato op. 92 and hisKonzertallegro with Introduction op.143 mystery, refinement and elegance
(Bern Symphony Orchestra, conduct. Dirk Joeres).
Daily "La Liberté": 16.11.2001.
Antoine Rebstein: A Sphinx with powerful claws
Full of energy and virtuosity, the young pianist is made of the stuff of great artists. Last Tuesday at ”Espace Tinguely” in Fribourg he gave us a brilliant demonstration of his talent.
Antoine Rebstein is an enigma. The youthful, almost frail-looking pianist has in store an almost unextinguishable reserve of expressive energy, equalled by his incredible mastery of the keyboard. A pianist by vocation, certainly, but surely also through constant and passionate work, which enables him literally to overrun the most technical, virtuoso, « physical » parts of the 7th Sonata by Prokofiev in a pulsating, torrid expression. Last Tuesday, at the Tinguely Hall, his fingers first created a delicate embroidery, then mastered the chords as powerfully as a sculptor working on granite.
The strong points of his interpretation lie in the dynamic and rhythmic constrasts, always extremely well delineated and yet perfectly integrated in his global vision of the inner structure of the works played. One recognizes in this expressive, almost palpable profusion - always perfectly controlled - the distinctive marks of the great Russian school which gave us Gillels and Richter. The melodic line is widely stressed, the sound is generous (almost too much for the reverberating accoustics of the Tinguely Hall), while his diabolically virtuoso left hand keeps preserving all the nuances of the phrasing, inspite of raging tempi.
It is quite obvious, Antoine Rebstein is made of the stuff of the great pianists
Marie Alix Pleines
Der Bund, Bern: 10.12.2002
Complementary Impressions: Pianist Antoine Rebstein in the concert hall of the Rathaus des Ausseren Standes, Bern.(...) played the A-major Sonata, KV 331 by Wolfgang-Amadeus Mozart thus providing a completely new understanding of his artistic possibilities..His interpretation of the variations in the first movement gave an impression of balance between lyrical expression and controlled energy. The development of the main melodic line was never impeded by the finely chiselled articulations which derive from it..
The music remained pure and simple on the surface though with great inner life, and the pianist brought great musical sense to the menuet, whereas the trio came as the highlight of his deeply felt interpretation of this piece.
Then, the finale, so well known, and so brilliant, though never too rushed and without any exagerated power display, really rendered in a very convincing way the ”turkish” connotation, which ineluctably recreates the magical musical environment evoked by the ”Entführung aus dem Serail”(the Abduction from the Seraglio).
It is almost superfluous to add that Antoine Rebstein’s limpid, though highly elaborated technique came out magnificently.
Der Bund, Bern: 25.08.2000
1.Piano concerto by Shostakowish. Concertgebouw-Amsterdam, 20.8.2000.
Bern Symphony Orchestra, Dir. Dmitrij Kitajenko.
”..and then the audience came under the spell of pianist Antoine Rebstein’s radiant personality served by great technical mastery and musical flexibility...
Neue Luzerner Zeitung: 19.11.1998
Meggen : Annual concert of the Foundation for Young International Musical Talents
As for Antoine Rebstein, he never resorted to any superficial pretence ; of course this is something he can allow himself. The piano concerto in A Minor by Robert Schumann found in him a noble interpreter, allying power and sensitiveness into a convincing blending. The cosmic breathing in the melodic lines of this poetical work never dissolved into fever behind the joyful attacks of the key movements
Aargauer Zeitung: 29.09.1998
Melodious times with young musicians
Internationale Orpheum Musikfesttage - Tonhalle ZURICH
The summit was reached with the interpretation of Grieg’s piano concerto by 20-year old Antoine Rebstein from Canton Vaud. Startling to see how this young artist masters the lyrical expressive parts and effortlessly controls the dancing elements of the key movementsJürg Nyffenegger
Nice Matin: 03.05.1998.
A radiant world of sounds
Pianist Antoine Rebstein, hardly 20 years old, masters an impeccable technique; he has class, style as well as a wide, well-structured musical and general culture. His interpretations are the true mirror of a remarkable intelligence allied with a rare sensitivity.(...)
However, way above anything the present commentary can express, what the young artist has managed to create with his hands is a radiant world of sounds into which his interpretation carries us (...) He played the four Preludes by Rachmaninov with impressive musicality and romantic expressivity, an obvious virtuosity coupled with aristocratic rigour.Aurore Busser
Neue Luzerner Zeitung, 25.07.1997
An astonishing soloist t
Antoine Rebstein, was the soloist of Edvard Grieg’s piano concerto in A-Minor op.16. The 19-year old pianist can already avail himself of comprehensive piano capacities which enable him to devote his skills in a more free and relaxed way to actual musical rendering. Both in the vivid and lively or the more poetic parts – which are so many in this romantic work, Antoine Rebstein is always on the dot. His interpretation is convincing, enchanting even. The young artist has definitely a promising career ahead of him.
Journal de Genève et Gazette de Lausanne, 4.03.1997
The Vaudois pianist Antoine Rebstein plays Schostakovitsch like a true Russian
With cool objectivity interspersed with dark melancoly, with the impetuousness of a firy cosack in the prestissimi parts of the first and last movements, powerful to irrepressible in the succession of chords, the Lausanne artist varies his play to the utmost, thus lending each of the movements their own precisely delineated outlineAntonin Scherrer
La Presse Riviera/Chablais, 4.03.1997
1. Shostakovich piano concerto
Young pianist Antoine Rebstein has captivated the audience through his poised and relaxed interpretation, easily overcoming the difficulties of this musical work.
In spite of his youthful appearance, he plays with passion and charm. Aspect can be deceitful ; in this case, the artist precisely knows what he wants and keeps his goal clearly in front of him. He has a brilliant technique, his touch is full though subtle, reflecting his great potential. He will soon make himself a place under the sun.
Jean Cossetto, Montreux********
Der Bund, Bern, 6.06.1994.
On the way to self realisation
From time to time, a young talent, wo has obviously been spoilt by the Muses, climbs up the concert podium and startles the audience with interpretations of astonishing maturity, as if in the core of the body shone a being still in development but already ascertaining his way through definite marks.
Such traces are quite surely and repeatedly left by 16-year old pianist Antoine Rebstein, not only in view of the remarkable technical mastery his musical choice demonstrates, but more through his touching spiritual expressiveness, developed in clearly defined meanings and often reaching astonishing profoundness