Member Since: 12/11/2007
Band Website: gintaras.frype.lt
Band Members:
Influences: This is random order of geniuses, who give me inspiration, power and best emotions every day. Love You and Thank You very much.
Sounds Like: Johannes Brahms - Intermezzo in A Major op.118, No.2 (2008)
Rachmaninov - Etude-Tableau in C Minor op.39, No.1 (2004)
Bach - Prelude and Fugue in F Minor, BWV 857 (2008)
Chopin - Scherzo No.4 (2008)
Louie - Fastforward (2008)
"I cried, I'll humbly admit, when Gintaras Janusevicius, this tender-aged "kid" of 19 years, 4 months and 15 days, launched in to the first phrase of the F sharp minor Adagio of Mozart's 23rd Concerto, a movement of desolation that Mozart used only twice in his life. It was a phrase delivered without pretension, with infinitesimal nuance and hands that seemed to dance over the keys. No ulterior motive, no sentimentality, just the Sicilian beat and depth of the music. All of Mozart was there, all of the magic of the art and all of the wisdom of Gintaras Janusevicius himself. I don't know if one can win a competition by playing a Mozart concerto in the finals. "I could have chosen a concerto by Liszt, but in Mozart there is more, there is everything," the young Lithuanian confessed to me at the end of the evening. That might sound overly simplistic, but it says it all. If this doesn't prove to us that this artist is out of the ordinary, something else surely will. No matter. Because Gintaras Janusevicius glides, like an albatross. His semi-final and final performances were rare revelations for me; they fall outside the scope of competition because they are neither rankable nor quantifiable. All eyes were on Janusevicius after the semi-finals, on which he had left his imprint as a kind of apparition from another place, notably with his performance of Rachmaninov's Etudes-tableaux Opus 39. Mozart was not the choice one would have expected of so flamboyant an artist. But in it he revealed all, against the tide of our expectations. We saw him take possession of Mozart; proclaim it. We saw him set the keys aglow, with a palette of a thousand shades, but never going beyond the forte. We saw him shake up the rhythms, moving forward, straight as a pin, with the simplicity of the master and the vitality of the young man he is. Never is it used for effect, never does the left hand try to gain the upper hand. Janusevicius opted for the least sensational of the concertos and played it in the least sensational manner possible, irradiating it with a light play of a feather touch."
Christophe Huss, The Albatross, 01 06 2004
Record Label: e-mail: [email protected]
Type of Label: None