Christian Ihle Hadland, Piano

Month

Biography

In the last decade Christian Ihle Hadland has established himself as a true craftsman of the piano, a musician whose delicate, refined playing and individual touch have led him to the most prestigious stages in the world.

Christian came to international attention in 2011 when he began a two-year stint as a BBC New Generation Artist. As an NGA he performed with all five of the BBC’s symphony orchestras from London to Manchester and broadcast solo and chamber recitals for the corporation in London. As a finale to his tenure, Christian was the soloist in Beethoven’s Second Piano Concerto at the BBC Proms with the Oslo Philharmonic under Vasily Petrenko; the concert was broadcast live and Christian was praised by London critics for his ‘pearly’ and ‘otherwordly’ sound.

Christian made his professional concerto debut with KORK, the Norwegian Radio Orchestra, aged 15. He has since performed with all the major orchestras in Scandinavia including the Swedish Radio and Danish National Symphony Orchestras, and the Royal Stockholm, Helsinki and Oslo Philharmonics and also the Swedish Chamber Orchestra. In the UK he has appeared as a concerto soloist with the Hallé Orchestra, the Royal Scottish National Orchestra, the Scottish Chamber Orchestra and Manchester Camerata, in addition to his work with the BBC orchestras. He embarked upon a successful concert tour of the UK with the Bergen Philharmonic under Andrew Litton in 2013. Christian made his US debut with Seattle Symphony Orchestra in 2013 and he has also performed with NDR Hannover Orchestra.

Christian is highly sought after as a chamber musician and has been Artistic Director of the International Chamber Music Festival in Stavanger, his hometown, since 2010. He appears regularly at The Wigmore Hall, where he gave his debut solo recital in 2013, and is a regular guest at the Risør Chamber Music Festival and at the Bergen International Festival in Norway. He has also performed at the BBC Proms Chamber Music Series, where he collaborated with the Signum Quartet. In 2015 he gave a three-week chamber music tour of Australia with the Australian Chamber Orchestra and American mezzo Susan Graham. In 2006, Christian performed with soprano Renée Fleming at the Nobel Prize Award Ceremony in Oslo.

Christian is a respected recording artist whose disc of Mozart Piano Concertos with the Oslo Philharmonic Orchestra was nominated for the Spellemann Prize in 2014, the highest honour for recorded music in Norway. Christian’s Holberg Variations CD, recorded with Ensemble 1B1, won the Spellemann Prize in 2015. Most recently, his recording of works for cello and piano by Grieg and Granger, made with the Danish cellist Andreas Brantelid, was released on BIS in 2015 and immediately named a Gramophone Editor’s Choice.

Christian Ihle Hadland has played with renowned conductors at the highest level, including Sir Andrew Davis, Herbert Blomstedt and Thomas Dausgaard.

Christian was born in Stavanger in 1983 and received his first piano lessons at the age of eight. At the age of eleven he entered the Rogaland Music Conservatory, and in 1999 began lessons with Professor Jiri Hlinka, both privately and at the Barratt Due Institute of Music in Oslo.

Calendar

Thursday, December 1, 2016

Repertoire
Review
Soft Piano Paws
Politiken
Wed, 2014-12-10
..."For the evening,s second chamber music piece the Norwegian violinist Anders Kjellberg Nilsson was a last minute replacement in Ravel's Piano Trio together with his fellow country man Christian Ihle Hadland at the piano and Henrik Dam Thomsen as cellist. In long passages one could not hear in any way that it was a trio put together for the event with such grandly laid out variation of volume and temperament, which demanded extremely exact chamber musical communication. But OK, when they come from the very top drawer of Nordic musicians one cannot wonder too much. Hadland's soft piano paws introduced the sound in Ravel's changing delicate weave of slow beauty in soft pastels - and deeply original mix of French chansons, ragtime and classicistic episodes between humour and seriousness. Charming and wistful with rich measures of singing melodies decorated with flickering sound effects. Hadland and Nilsson both born in ´83 both belong to the leading chamber musicians in Norwegian music life".
Chopin Trois Nouvelles Etudes, Impromptus Op.29, Op.36, Op 51 & Rondeau Op. 16 S
Dagbladet - Ståle Wikshåland
Thu, 2010-04-01
Christian is out with a solo album on Simax, and it is, in every way, a remarkable release. Rarely have the dice been extended and tilted towards a five before finally settling on a four. But let me start somewhere other than with broad objections. For this is a release that shows us a rare talent among our young pianists – or even among our pianists in total. He plays through the etudes and impromptus by Chopin before he takes on Schumann’s “Waldszenen” in a long and beautiful sweep. He never loses the unique projection of his piano for a single moment, one of the softest velvet I’ve ever heart.
Chopin Trois Nouvelles Etudes, Impromptus Op.29, Op.36, Op 51 & Rondeau Op. 16 S
Stavanger Aftenblad - Arnfinn Bø-Rygg
Thu, 2010-04-01
All indications suggest that Ihle Hadland can develop into a Chopin and Schumann-interpreter of rank. I think that anyone who has followed Chistian Ihle Hadland's development, and heard him in the last year in the concert hall, has expected something great of his solo debut on CD. And I can assure everyone, myself included, that we will not be disappointed! In the works of Chopin and Schumann, this year's jubilee, he shows how much he has achieved as a pianist and musician. That he has chosen to perform relatively rarely performed works by two of the music world’s piano giants, speaks only to his advantage. Ihle Hadland could easily have shone in both more familiar and more virtuosic works. The programme choice is tastefully done, with an eye for pieces that require nuance, dynamic range, delicious rolls and sparkling run, and this is what we, in Norwegian, call a ‘foredrag’: A presentation of the piece itself. The opening of Chopin's Impromptu in A-flat major op. 29 sets the standard at once. The way he sort of floated in with the brilliant opening passage is like listening to the most idiomatic Chopin interpreters, with roots going back to Arthur Rubinstein. A feel for rhythm and natural tempo shift is part of this. The three "New Etudes" Chopin wrote for the famous collections op. 10 and Op. 25 are simple and intimate, with the greater demand on nuance. Ihle Hadland’s playing here is beautiful and exquisite. In the Impromptu in F sharp major, op.36, we hear how he can build up a run to dramatic heights and his runs are superb pearls of virtuosity. Ihle Hadland’s performance of this last impromptu, op. 51. in G-major, brings a dreamy quality which takes us beyond time and place. The last piece of Chopin, the earlier Rondeau op.16, we do not hear often, either in the concert hall or on CD. It places greater demands on virtuosity than the other Chopin pieces, but Ihle Hadland has virtuosity in abundance. The dynamic range here is rarely big, but Ihle Hadland’s musical presence is enormous and he shows masterful control over the keys and moods. (…) It says something about Ihle Hadland’s versatility that he is equally at home performing Schumann as Chopin. His interpretation of Blumenstück op.19 creates a canvas with both bright colours and crisp lines. Waldszenen is an aesthetic pleasure to hear, Ihle Hadland interprets each of the nine pieces’ characters perfectly and precisely. In the first piece he leads us sensitively, but steadily into the woods. "Verrufende Stelle" I could have accepted as even more "verrufen", that is haunted, uncanny (unheimlich), in keeping with the early German Romanticism. It is too delicate and not quite scary enough. Schumann's wife, the famous pianist Clara Wick, avoided performing this piece because it had a motto of the poet Friedrich Hebbel, “where there is talk of a flower that is red, among the other pale, but it is not from the sun, however, that it drank human blood.” In return, the "Vogel als Prophet (Bird as Prophet) is performed in a way that we rarely hear nowadays. Ihle Hadland actually makes the music become a bird - we hear the trills of the bird within the landscape space and see the bird's eye view, when it disappears into the air. The sound quality on this CD is one of the best, as so often with Simax. The only thing I can pick on with this CD is that we hear the pedal too clearly, it is especially distracting and disturbing in the slow sections.
Wigmore Hall / Lunchtime Recital / 28.01.2013
The Independent / Michael Church
Mon, 2013-01-28
But when the young Norwegian pianist Christian Ihle Hadland took the stage the next day, one could hardly believe it was with the same piano. With its opening horn-motif followed by pearlised runs, the first movement of Mozarts K576 set up an intimately singing tone which was maintained throughout; the intricate counterpoint was brilliantly delineated. The Adagio was restrained but exquisite, and the finale was a celebration of sparkling vigour. But if this was as good as it gets in Mozart pianism, what Hadland did with Schuberts Sonata in A D959 was remarkable. In his hands the initial Allegro  which usually seems labyrinthine  had pellucid clarity; to the problematic Andantino, whose plangent barcarole is broken by the anguished musical equivalent of a nervous breakdown, he brought an underlying  and unifying - calm. The joyful disintegration of the Rondos Lied-like theme made a magical conclusion to this Olympian performance (to be rebroadcast on Radio 3 this Saturday.)
Mozart Piano Concertos / Oslo Philharmonic Orchestra / Simax Recording
Stavanger Aftenblad / Arnfinn Bø-Rygg
Tue, 2013-01-08
I flere år nå har vi visst at Christian Ihle Hadland er en fortreffelig Mozart-fortolker. Han spiller Mozart ikke så maskulint som Andsnes, men med stor sensibilitet og finesse. Nå er det endelig dokumentert på en cd, tatt opp i 2011. Det er to av de store Mozart-konsertene han her gir seg i kast med, nr. 21 i C-dur, med det såkalte Elvira Madigan-temaet i andresatsen, og Ess-dur-konserten nr. 22. Ingen av disse skrev Mozart selv kadenser til, så Ihle Hadland har like godt laget sine egne i nr. 21 og bruker Benjamin Brittens i nr. 22. Samspillet med Oslo-filharmonikerne er ytterst finstilt; Ihle Hadland og dirigenten Arvid Engegård vil tydelig det samme, og presisjonen, som er alfa og omega i Mozart, er uklanderlig. Dette er en innspilling som garantert vil få mye kritikerros. C-Dur-konserten har mange teatrale og operatiske virkemidler og Ihle Hadland finner seg tydelig godt til rette med musikkens skiftende karakterer og stemninger. Det eneste jeg er uenig når det gjelder C-Dur-konserten, er tempoet i andresatsen (med Elvira Madigan-temaet). Den tas for hurtig, er mer en allegretto enn en andante. (Til sammenligning spiller Pollini den en og et halvt minutt saktere, Uchida to minutter saktere). Det gjør at den smertelig-vakre melodien ikke riktig får synge ut. Kadensene i yttersatsene, som altså Ihle Hadland selv har skrevet, har både kraftfulle og herlig modulerende partier. Ihle Hadlands spill er perlende, med differensierte anslag og herlige triller. Samtidig har han den rette fjærende kraft i bass-akkordene. I Ess-dur-konserten kunne jeg (igjen) tenkt meg andanten et hakk saktere og (særlig i orkesterinnledningen) med en mer dyster, klagende tone. Dette var den første konserten der Mozart brukte klarinetter i stedet for oboer og endringen i fargelegging er påtagelig, noe solist og orkester da også utnytter. Valget av Brittens kadenser yttersatsene er mer enn et kuriosum og de spilles utsøkt av Ihle Hadland. Summa summarum: Nest etter Andsnes har Ihle Hadland nå gitt ut den mest overbevisende innspilling av Mozart-konserter her i landet noensinne. Vi venter bare på mer!
Bergen Philharmonic Orchestra / Grieg Piano Concerto / Andrew Litton
The Guardian / Andrew Clements
Fri, 2013-02-01
Touring Norwegian orchestras don't leave home without at least one piece by Grieg in their luggage, and for this concert it was the Piano Concerto, with Christian Ihle Hadland as soloist. It's not easy to make such a familiar work seem freshly minted, but Hadland quickly showed why he is so highly regarded  he is one of the current crop of BBC New Generation Artists  with a performance that was both lyrically flexible and muscular when required; for all his subtleties, there was nothing small-scale about any of it.
Mozart: Piano Concertos Nos. 21 & 22 - Christian Ihle Hadland
Classic FM Website
Mon, 2013-02-04
Two of Mozart's best piano concertos given a new lease of life in a fresh new interpretation by Christian Ihle Hadland and the Oslo Philharmonic. John Suchet's Album of the Week, 4 February 2013. Where sometimes the well-known middle movement of Mozart's Piano Concerto No. 21 ('Elvira Madigan ') risks becoming an exercise in wading through musical treacle, Hadland's refreshingly speedy interpretation injects some of the composer's signature cheeky charm back into the piece. The sense of ensemble is impeccable throughout - as the horns echo the piano, or the piano echoes the strings, you can almost see the twinkle of joy in Mozart's eye as the cheery tunes are bounced effortlessly between each section of the orchestra. Christian Ihle Hadland's piano solos are edgy and characterful, but other members of the orchestra are given the time to shine in this brilliant recording. Listen out for Mozart's trademark horn lines glowing through the orchestral textures, or even a swelling oboe duet or an unexpected flutter of a flute. Every repeated listen to every movement will uncover another musical surprise. A delightfully pithy album of concertos, bringing Mozart's piano music to life.
The ensemble
The Financial Times / Andrew Clark
Fri, 2012-02-03
High quality global journalism requires investment. Please share this article with others using the link below, do not cut & paste the article. See our Ts&Cs and Copyright Policy for more detail. Email ftsales.support@ft.com to buy additional rights. http://www.ft.com/cms/s/2/e5ab8f2a-6c5a-11e2-b774-00144feab49a.html#ixzz2KCU4ETsC While it would have been useful to hear music by Lasse Thoresen or another representative of the modern Norwegian school, the Grieg Piano Concerto made a good fit  especially in such delicate, Chopin-esque hands as Christian Ihle Hadlands, steering the work well clear of its guise as a Classic FM staple. Crisp in the opening movement, nuanced in the Adagio, his reading always had ample power in reserve.
Mozart Piano Concerto / Oslo Philharmonic Orchestra
TheArtsDesk.com
Sat, 2013-03-16
This immaculately produced disc contains scintillating readings of two genial Mozart piano concertos. Ihle Hadlands polished, witty playing suits the musics character perfectly. Marvellous too to have both works accompanied so richly by a downsized Oslo Philharmonic under Arvid Engegård. Period-performance purists should listen carefully to the orchestral winds and horns in K482 and reflect upon what they might be missing. The Oslo players are fabulous, particularly a pair of fruity bassoons  characterful when issuing their riposte to the orchestras opening flourish, later cheekily embellishing the Rondos main theme. Hadland plays a first movement cadenza provided by Britten for Sviatoslav Richter. Stylistically it doesnt quite fit, but its a fascinating listen, at one point lurching boldly into the 20th century before neatly reassuming Mozartian garb. Hadland doesnt undersell either concertos grandeur. K467s first movement has just the right amount of pomp and wit. The over-familiar slow movement, used by a thousand telephone call centres, is played at a flowing tempo. Theres a sonorous plucked bass, and the piano line sings. Hadland's last movement sparkles. All is invigorating, never sentimental. Sublime, in other words.
Norway's New Piano Lion Plays Mozart With Velvet Paws
Politiken
Thu, 2013-08-08
"Some times it is not the known brand which wins the consumers' test. Angela Hewitt has a vast public all over the world and her project with recording all Mozart's piano concertos with an orchestra from Mantova has been under careful preparation for a very long time. Hyperion is also known particularly for producing superb sound. In the other end of the scale of expectations is Christian Ihle Hadland in the beginning of his career, and the Oslo Philharmonic which definitely is not known as experts in Mozart. Then why is it that it is the 30 year old Norwegian on the local label which is put in the player again and again whilst Hewitt's soon ends in the stack of medium Mozart recording? The answer is delicate fingers. Hadland's touch is always so delicate that the piano voice remains soft and dreaming - without ever losing focus on rhythm in the many rows of scale notes which drape the immortal themes." "One of the concertos, no. 21, which today is named 'Elvira Madigan' should be impossible to give new life, but Hadland succeeds beautifully. The well known second movement with the quirky disconnected melody is given a little extra tempo and he keeps a safe distance to clichés with his fine sound in tight rein. The music becomes a stylish dance - which points forward. The orchestra and Hadland seem to be in agreement regarding both balance and timing in the transformation from dialogue to merry summer happiness. No. 22 is different seeking in its nature. Hadland offers play and music with a shrt distance to smile in the same high quality, where one enjoyes the normally large orchestra playing in a careful and warm version." Henrik Friis
Hadland's Beethoven - The Proms
The Independent
Thu, 2013-09-05
Theres something intriguing about the young Norwegian pianist Christian Ihle Hadland: his musicality is very subtle, and no other pianist can match his poised and pearlised touch. But since his London performances had hitherto been confined to chamber music, Beethovens Second Piano Concerto with the Oslo Philharmonic under Osmo Vanska would be different sort of test. The surprise was that he turned that into chamber music too. His passage-work during Prom 69 had an intimacy one doesnt normally associate with Beethovens concertos, and he gave the cadenza a musing quality. The lovely dialogue between piano and orchestra in the Adagio was lifted into something magical, an effect only possible when soloist, conductor, and orchestra have worked together as long as these have done. Hadlands encore, a Byrd Galliard, was a typically left-field choice.
Christian Ihle Hadland and the Oslo Phil in Dublin
The Independent
Fri, 2013-09-06
Discography
Chopin and Schumann Solo Recital Disc
Simax
Mozart Piano Concertos
Oslo Philharmonic Orchestra / Arvid Engegård Simax
Sinding Violin and Pino Works
With Henning Kraggerud Naxos
Press Service

Photo: Anders Bergersen

Photo: Anders Bergersen

Photo: Anders Bergersen

Foto: Kim Laland/Bitmap

Foto: Kim Laland/Bitmap