program Larissa Groeneveld 2018-2019

I Oene van Geel- North Adams
Johann Sebastian Bach- Suite No.2 in d minor, BWV 1008  
Roel van Oosten- Sonate, 2003     
Peters Vasks- Dass Buch, Dolcissimo
Johann Sebastian Bach- Suite No.5 in C minor, BWV 1011

II Max Reger- Suite no. 1 G major opus 131c
Johann Sebastian Bach  -Suite No.3 in C major, BWV 1009
Johann Sebastian Bach- Suite No.5 in C minor, BWV 1011
Max Reger - Suite no.3 a minor opus 131c

some quote's from press-reviews Larissa Groeneveld

Une découverte
‘Retenez bien ce nom, Larissa Groeneveld, il s'agit d'une jeune violoncelliste,à le beauté tendrement impérieuse. Cette merveilleuse artiste, a été incomparable de tenue de puissance intérieure,de tension magnifiquement contròlée, avec un sens inné de la vraie poésie.’
Le Figaro (Pierre-Petit)

‘It was here that Ms. Groeneveld's sonorous tone and firm phrasing was to be felt, and she was impressive again sounding the lament theme, making the odd intervals right and forceful.’ The New York Times ( Paul Griffiths)

“Superbe et somptueuse sensibilité artistique que celle de la violoncelliste Larissa Groeneveld qui signe ici un album d’une maturité filigranée, sertie d’intelligence et de profondeur sans effet ni diluation : les phrasés sont finement ciselés, et le rubato d’une liberté de ton particulièrement précis qui lui permet de sentir de l’intérieur, la grande versatilité expressive des œuvres sélectionnées.” 
review in Classic News 25.12.2015 (Alban Deags)

“The real triumph, though, is the Lied. Here Groeneveld tones herself down to a tender softness, although retaining the Humoresque’s strength for the crescendos, and it’s hard to imagine this tiny gem singing more under another cellist’s fingertips.”
“Zemlinsky’s A minor Sonata brings more warm, predominantly smooth, expansive readings from Groeneveld, always in perfect communion with van der Laar, who for his part is generous with the pedal but never at the expense of definition.”
review in Gramophone March 2016 (Charlotte Gardner)

“Zemlinsky’s A minor Sonata of 1894 receives an especially enriching performance from this poetic partnership””..." Groeneveld plays the turbulent opening movement with passionate conviction and a full-bodied sound, and endows the lovely Allegretto finale with elegance and charm. The Three Pieces, more Schumannesque in mood, are arresting and beautifully characterised.”....”The Dutch duo are also strong advocates for Dohnányi’s 1899 Sonata. Full-throttle playing is required throughout the expansive first movement, with both musicians pushed to their limits, and the spacious recording gives depth and resonance to the sound. Groeneveld executes the delicately hovering spiccato notes in the Mendelssohnian scherzo with precision and grace.”
review in the Strad, 01-09-2016 Janet Banks