ORF (Radio austriaca)

    La interpretación de Barnieck demuestra una gran calidez de sentimientos, pero nunca cae
    en la cursilería.    
    La música: natural, discretamente sofisticada.

Frankfurter Allgemeine Zeitung

   "... alta presencia espiritual y emocional de su enérgica grabación" (Doris Kösterke)


   Jérôme Bastianelli

   La inventiva melódica con la que abunda la música de cámara de Gernsheim también 
   impregna sus sonatas para piano, obras alegres de su juventud. Y si la escritura voluble
   halaga los dedos, es sin parloteo. Se perciben las influencias combinadas de Beethoven,
   especialmente en la estructura rítmica, y de Mendelssohn, por la efervescencia y el
     entusiasmo. La Sonata nº 3 (1854) culmina con su Adagio, que comienza con un tranquilo
     coral - las fórmulas melódicas que luego se despliegan en el después no sorprenderían a

   Los seis Preludios, Op. 2, dedicados en 1864 a la esposa de Théodore Gouvy, se hacen eco
     esta vez de Chopin y de Schumann: el nº 1 (un poco lento et sostenuto) cabecea en arpegios
    divinos como un eco lento del último Etude, mientras que el nº 5 (Allegretto vivace et leggier) no
    desentonaría en el Album pour la jeunesse. A la manera de esos parques de atracciones que,
    presentando los los monumentos de un país en miniatura, la obra de Gernsheim ofrece un
    agradable panorama de toda una parte de la música de la primera mitad del siglo XIX. Nada
    revolucionario, pero la inspiración del compositor está siempre presente.

    Jens Barnieck subraya, gracias a una interpretación colorida y equilibrada, el encanto de
    estas piezas finalmente resucitadas.

„A tastefully subtle performance was given by Jens Barnieck. Barnieck’s sensitivity for proper balance and dynamic control was outstanding.“


„Played by pianist Jens Barnieck, its simple one-finger melody evolved at great length but never lost its lullaby ambience, remaining for long stretches in the pianissimo range. It was engagingly naive melodically, but sophisticated and subtle rhythmically, with much use of light staccato touch, sudden pauses, unexpected holes in the musical continuum and a generally gossamer texture. One of the later variations in quiet staccato counterpoint was a special pleasure.“ (American premiere of „Variations on an English Lullaby“ by Dirk de Klerk)
„...like Kinderszenen“ or „Songs Without Words“ in the language of Scriabin and Messiaen. Prettiness waxed almost majestic in the final movement, elegantly played by pianist Jens Barnieck.“
 (Alexina Louie’s „Music for Piano“)

, Baden-Baden
„ ... a recital with works by Franz Liszt... an exceedingly demanding and rich program. A splendid work of memory and concentration. Berlioz once talked about the unending masses of notes that were created under the hands of Liszt. Barnieck developed these masses of notes with a fascinating technique... Feux follets were presented with equal bravado as were the song transcriptions. ... showed Jens Barnieck technical brilliance and an unusual virtuoso talent.“

, Buffalo
„Jens Barnieck’s intelligent playing helped illuminate the structures of these songs, both locally within each individual number and globally spanning the whole cycle. I was especially taken by the way he held back tempo in Annunciation Over the Shepherds to add dramatic tension, and the way he sustained the long, drawnout crescendo in Annunciation to Mary without loosing steam.“ (Das Marienleben with Sarah Leonard, soprano)

, Kaiserslautern
„Jens Barnieck, who accompanied absolutely congenially at the piano, showed great empathy. In between discrete nuances of expressions and controlled ecstasy, exquisit touch artistry and sensitiv, ritual contemplation, Jens Barnieck proofed all shades of concert brilliancy.“ (Song recital with American songs with Kurt Ollmann, baritone)

„The recital was organized by the German-American Institute in Heidelberg. What we heard, was not egocentric, self-indulgent pianistic show, but the depiction of traditions and developments, of reference between artistic work and content ... In Louis Gruenberg’s „Jazz masks“, burlesque arabesques and elegant harmonies à la Gershwin rank around the melody of Jacques Offenbach’s <Barcarole>. The pianist played it with superb sense of colors, pensive and dreamy.Nobel and classic sounded the Gershwin Preludes. It were little stories, that the pianist told us. ... With the sonata by Aaron Copland, we heard a fascinating piece of American piano literature. ... Of great thrill are the prophetic harmonies, that the pianist formed with utter clearity and brilliance. The motoric rhythms and ostinato figures were almost insisting. Exquisit and in the most beautiful concentration on the tone, the pointillistic and light notes rang to the audience like dripping stars. Performed with fine introspection, we were lead deeply into the realm of magic.The Nocturne by Samuel Barber gave a reminiscence of Rachmaninoff. It was elegantly performed with sensable rubati. ...In „Watermusic“ by John Cage ... we learned, that the message of Cage is the fact, that everything in this world can produce music, not the piano alone. ... The experimental encore, „The Banshee“ by Henry Cowell makes use of the interior of the piano. Spooky sounds with variable pitches were created. That, and the harp-like, plucked tones let the water ghost sing mysterious myths.“ (Henry Cowell „The Banshee“)


„Jens Barnieck astounded the crowd with the prepared piano. Extraordinary recital...“ (lecture recital on John Cage)


„... together with illustrating musical examples, Jens Barnieck showed impressively the wide range of American music of Charles Ives, Samuel Barber, Aaron Copland, Henry Cowell, John Cage and David Del Tredici among other composers.“ 

„Jens Barnieck, whose dedication is the contemporary music and who is a specialist in American music, stood up for the often underestimated Aaron Copland after the intermission. He did this in an impressive way, that showed rather pianistic understatement than a virtuoso show. Coplands‘ complex piano sonata from 1941 unveiled itself thus as an electrifying work that seemed at times to be inspired by jazzy rhythms. Aaron Copland referred to the American landscape in his music and Jens Barnieck took the audience on a captivating journey.“

, Kaiserslautern:
„ The highly concentrated and very expressive pianist Jens Barnieck unfolded the entire richness and melodic and rhythmic refinement. He, for instance, chiseled out the thematic outlines and obvious motivic connections with relentless sharpness and clearity, found evident relations between tempi, characterized the different parts and yet stayed with every precise detail playfully at ease. Thus, his performance was beyond criticism“ (Charles Ives, Piano Sonata No. 1)

, Idar-Oberstein:
„ The chamber concert surpassed all expectations ... The unusual topic of the one and a half hour long concert was American lyric, set to music either by composers who lived and worked in the USA, or that are original minds like Antonin Dvorak, who, in 1892, was the director if the National Conservatory of Music in New York and who, in 1893 wrote his Nineth Symphony „From the New World“. The concert opened with his folkloristic, accessible „Gipsy Songs“ op. 55. They were followed by five groups of American songs in the original language. In exemplary way, the organizer had put together a program brochure with texts and all the translations, that the artists themselves had made and provided! Thus, the concert needed no moderation. How helpful that was, became evident in the poems by Emily Dickinson, set to music by Aaron Copland, rather unknown in Germany. He took up the art song of the 19th century, as did Charles Ives with his „Memories“. After an intermission came bizarre, funny songs, even in popular styles like the songs of Kurt Weill from his early musicals. A German premiere was the cycle „The Prairie sings“ (2006) of New York based composer Philip Wharton, after poems by Carl Sandburg.
As a music lover, who was confronted with that literature for the first time, you could only effusively applaude both artists in acknowledgement and enthusiasm.
Julia Oesch presented herself as one of the rare artist personalities, that can turn concerts into a key experience thanks to her exquisit vocal artistry, that allows her every possible nuance of expression: Powerful sound, refined dynamic shades, best possible articulation. All that contributed to this unchallenged performance. In the last group, the „Cabaret Songs“ by the 1938 born William Bolcom with their commedian-like texts by Arnold Weinstein, she expanded her scale of expression by sprechstimme, whispering sounds and scenic acting, that brought her performance to a T.
But such vocal top performances can only be successful with the support of a pianist, who knows every detail as well as Jens Barnieck does: He is a tone color magician, who can easily join the pool of well known, great duo partners in the world. Those artists have to be engaged again!“