Bio:
Violinist Janine Jansen works regularly with the world’s most eminent orchestras and conductors and has been described by the New York Times as being as “riveting in silence as in sound”.
This season she is Artist-in-Residence with Tonhalle Orchester Zurich as well as Gothenburg Symphony Orchestra performing a variety of concerto and chamber music programmes in Zurich and Gothenburg throughout the season. She is also featured artist at the Mozartwoche Salzburg where she will perform with the Wiener Philharmoniker under Bernhard Haitink.
Orchestral highlights in season 18/19 include engagements with Royal Concertgebouw Orchestra (Gergiev), Orchester des Bayerischen Rundfunks (Fischer), Orchestre de Paris (Harding), Leipzig Gewandhaus Orchester (Bychkov) and London Philharmonic (Jurowski). She embarks on a major tour of Japan and Korea with London Symphony Orchestra under Sir Simon Rattle as well as European tours with Swedish Radio Orchestra under Daniel Harding, Chamber Orchestra of Europe with Sir Antonio Pappano and twice with Camerata Salzburg (with Daniel Blendulf performing Bernstein Serenade during the composers’ centenary celebrations and again in connection with the Mozartwoche Salzburg).
The Munich concert series “Münchenmusik” and the Bodenseefestival have both created special features around Janine Jansen in season 18/19 offering a number of different events from solo recitals, intimate chamber music over to great symphonic programmes.
Janine records exclusively for Decca Classics and since recording Vivaldi’s Four Seasons back in 2003 she has been extremely successful in the digital music charts. Her discography includes performances of Bartok’s Violin Concerto No. 1 with London Symphony Orchestra and Brahms’ Violin Concerto with the Orchestra dell’Accademia Nazionale di Santa Cecilia conducted by Sir Antonio Pappano. Other highlights include a recording of Prokofiev’s Violin Concerto No. 2 with London Philharmonic Orchestra and Vladimir Jurowski, Beethoven and Britten with Paavo Järvi, Mendelssohn and Bruch with Riccardo Chailly, Tchaikovsky with Daniel Harding as well as an album of Bach Concertos with her own ensemble. Janine has also released a number of chamber music discs, including Schubert’s String Quintet and Schönberg’s Verklärte Nacht and Sonatas by Debussy, Ravel and Prokofiev with pianist Itamar Golan.
Janine has won numerous prizes, including four Edison Klassiek Awards, the Preis der Deutschen Schallplattenkritik, NDR Musikpreis for outstanding artistic achievement and the Concertgebouw Prize. She has been given the VSCD Klassieke Muziekprijs for individual achievement and the Royal Philharmonic Society Instrumentalist Award for performances in the UK. In September 2015 she was awarded the Bremen MusikFest Award. Janine studied with Coosje Wijzenbeek, Philipp Hirshhorn and Boris Belkin.
Janine Jansen plays the 1707 Stradivarius “Rivaz – Baron Gutmann” violin kindly on loan from Dextra Musica.
For all promotional and interview requests from the Netherlands, please contact:
Universal Music Baarn, NL
Paul Popma
+31-(0)35-626 1700 [email protected]
The Recôncavo is an almost invisible center-of-gravity. Circumscribing the Bay of All Saints, this region was landing for more enslaved human beings than any other such throughout all of human history. Not unrelated, it is also birthplace of some of the most physically & spiritually uplifting music ever made. —Sparrow
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers: Personal recording engineer for Prince, inc. "Purple Rain", "Sign o' the Times", "Around the World in a Day"... Director of the Berklee Music Perception and Cognition Laboratory
I'm Pardal here in Brazil (that's "Sparrow" in English). The deep roots of this project are in Manhattan, where Allen Klein (managed the Beatles and The Rolling Stones) called me about royalties for the estate of Sam Cooke... where Jerry Ragovoy (co-wrote Time is On My Side, sung by the Stones; Piece of My Heart, Janis Joplin of course; and Pata Pata, sung by the great Miriam Makeba) called me looking for unpaid royalties... where I did contract and licensing for Carlinhos Brown's participation on Bahia Black with Wayne Shorter and Herbie Hancock...
...where I rescued unpaid royalties for Aretha Franklin (from Atlantic Records), Barbra Streisand (from CBS Records), Led Zeppelin, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Wah Wah Watson (Melvin Ragin), Ray Barretto, Philip Glass, Clement "Sir Coxsone" Dodd for his interest in Bob Marley compositions, Cat Stevens/Yusuf Islam and others...
...where I worked with Earl "Speedo" Carroll of the Cadillacs (who went from doo-wopping as a kid on Harlem streetcorners to top of the charts to working as a janitor at P.S. 87 in Manhattan without ever losing what it was that made him special in the first place), and with Jake and Zeke Carey of The Flamingos (I Only Have Eyes for You)... stuff like that.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay. They paid.
MATRIX MUSICAL
The Matrix was built below among some of the world's most powerfully moving music, some of it made by people barely known beyond village borders. Or in the case of Sodré, his anthem A MASSA — a paean to Brazil's poor ("our pain is the pain of a timid boy, a calf stepped on...") — having blasted from every radio between the Amazon and Brazil's industrial south, before he was silenced. (that's me left, with David Dye & Kim Junod for U.S. National Public Radio) ... The Matrix started with Sodré, with João do Boi, with Roberto Mendes, with Bule Bule, with Roque Ferreira... music rooted in the sugarcane plantations of Bahia. Hence our logo (a cane cutter).