Swedish cellist Jakob Koranyi has firmly established himself on the classical music scene as one of Europe’s most interesting young soloists. Acclaimed for his commanding virtuosity and passion for diverse and innovative programs, he has toured extensively performing in recital as well as a soloist all over the world. Orchestral highlights of the previous season include performances with the Stockholm Royal Philharmonic Orchestra, Hong Kong Philharmonic Orchestra, New Zealand Symphony Orchestra and Arctic Philharmonic Orchestra working with conductors such as Sakari Oramo, Jean-Pascal Tortillier, David Atherton, Jaime Martin and Christian Lindberg. A committed chamber musician, Jakob Koranyi collaborates regularly with distinguished musicians Yura Lee and Juho Pohjonen and has appeared in chamber music concerts alongside such international stars as Vilde Frang, Kim Kashkashian, Leonidas Kavakos, Misha Maisky, Martin Fröst, Lawrence Power and Denis Kozukhin. He is also enjoying working with artists of other disciplines and has a lasting collaboration with dancer Heather Ware. The 16/17 season will see the premiere and Dutch tour of their new piece Battle Abbey, as well as performances with Helsinki Philharmonic, Orquesta Filarmonica de Bogota and the the Stockholm Royal Philharmonic Orchestra. A standing member of the Chamber Music Society of Lincoln Centre, Mr. Koranyi plays a Iosephi Gratiani built in 1756 in Genua.
Read Full Biography
The Swedish cellist Jakob Koranyi has firmly established himself on the classical music scene as one of Europe’s most interesting young soloists. Acclaimed for his commanding virtuosity, delicate sound and passion for diverse and innovative programmes, he has toured Europe extensively performing in recital as well as a soloist in Vienna, Cologne, Hamburg, Paris, Brussels, Amsterdam, Barcelona, Stockholm and Luxembourg to name a few.
The 16/17 season will see the world premiere and Dutch tour of a unique dance project with Heather Ware titled Battle Abbey. The show follows previous collaboration triumphs including 2012’s Snow in June (choreographed by Andrea Leine and Harijono Roebana, music by Tan Dun) and 2014’s Bach – A Play in Motion. This season will also include performances with the Helsinki Philharmonic Orchestra, with Henri Dutilleux’s Tout un Monde Lontain, Orquesta Filmharmonica de Bogata, with Beethoven’s Triple Concerto, two Wigmore hall performances as well as Albert Schneizer’s Cello Concerto Crazy Diamondswith the Royal Stockholm Philharmonic Orchestra.
The upcoming year brings a continuation of Koranyi’s exciting collaboration with the Chamber Music Society of Lincoln Center, New York, as well as a re-invition to Bridgehampton Chamber Music Festival and Vinterfest in Sweden. Each season Koranyi enjoys multiple festival appearances, which have included the Cleveland Chamber Festival, Kempten Festival at Dijon, Verbier Festival, Schloss Elmau, the Amsterdam Cello Biennale, Zutphen Cello Festival, Delft Chamber Music Festival, Peamarsh Chamber Music Festival, Danish String Quartet Festival, concerts at the International Chamber Music Festival in Stavanger, Martin Fröst’s Vinterfest and the Båstad and Gotland Chamber Music festivals.
A committed chamber musician, Koranyi collaborates with distinguished musicians such as Yura Lee, Simon Crawford-Phillips and Juho Pohjonen and has appeared in chamber music concerts alongside such international stars as Vilde Frang, Yuri Bashmet, Kirill Troussov, Kim Kashkashian, Leonidas Kavakos, Misha Maisky, Daniel Hope, Martin Fröst, Lawrence Power, Julian Rachlin and Denis Kozukhin.
Orchestral highlights include performances with the Stockholm Royal Philharmonic Orchestra, Swedish Radio Symphony Orchestra, Orchestre de Paris, Weimar Staatskapelle, Arctic Philharmonic, Northern Sinfonia Gateshead, Gävle Symphony Orchestra, Uppsala Chamber Orchestra, Filharmonia Veneta, Gothenburg, Malmö, Helsingborg and Norrköping Symphony Orchestras, working with conductors such as Lionel Bringuier, Susanna Mälkki, Marc Soustrot, Joana Carneiro, Okku Kamu, Eiji Oue, Michael Francis, Krzysztof Urbański, Yordan Kamdzhalov, Stefan Solyom, Thomas Söndergaard, Jaime Martin, Yan Pascal Tortelier and Christian Lindberg.
Recent highlights have included making his Solo Lincoln Centre debut playing a recital of Bach suites, his US Orchestral debut with the Grand Rapids Symphony, his New Zealand Symphony Orchestra debut with Walton’s Cello Concerto, and his Hong Kong Philharmonic Orchestra debut with Saint-Saens’ 1stCello Concerto. Jakob has been described as bringing “complete satisfaction to the listener” and “new dimensions to the music” by Dagen Nyheter for his performance with the Royal Stockholm Philharmonic.
Koranyi was a Rising Star of the European Concert Hall Organization in 11/12 and during that season was also awarded the Norwegian Soloist Prize. An earlier recipient of numerous awards from international festivals and foundations such as Le Prix d’Honneur and Ferminich Prize from the Verbier Festival, in 2009 Koranyi received the 2nd Grand Prix at the Rostropovich Competition in Paris.
While still a student, Koranyi won first prizes in all national music competitions in Sweden, most notably the prestigious Soloist Prize awarded by the Royal Swedish Academy of Music. Part of the award was the recording and release of his critically acclaimed recital CD “Jakob Koranyi, cello” featuring works by Britten, Ligeti and Brahms. On the strength of this recording he was labelled “a force to be reckoned with” by The Strad Magazine.
Koranyi plays on a Joseph Gratiani cello built 1756 in Genoa.
“In my twenty years as a critic I have never struggled more for words. I am overwhelmed. I cling on to facts to avoid falling over. Jakob Koranyi has a rare simplicity in his musicianship. His playing is light, and he avoids unnecessary vibrato. He does not allow tones to glide in to each other with emotions as the excuse. Rhythm and pulse are important. This approach may be called correct in this style, and forms a base for what I call purity. But at the same time, talking about style feels petty after this concert. Koranyis playing is personal, but also so much more than personal. He never exaggerates anything, my impression is that he – rather than loading Bach with emotion – opens himself up and becomes a link between the composer and the present. The feather light touch bears an immense force. How can a simply natural flow encompass so many vital details?”
“Koranyi played elegantly, with carefully considered note placement, drawing subtle emotions out of the score… it was a disappointment [the performance] ended so soon.”