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Recent Concert Reviews (in German)
Concert with Bettina Pahn in Innsbruck, Ambraser Schloßkonzerte - 26.7.2011
"Fühlbare Feinheiten ...Helds phänomenalen Qualitäten wurden in den Lautenstücken von Bach und Weiss noch fühlbarer: Auffällig der ungemein plastische Ton mit enormer Dynamik- und Farbgestaltung. Jeder Ton klang deutlich wie für sich, als spielte er ein Tasteninstrument mit mehreren Manualen. Held gelang es, expressiv impulsreich und agogisch fein zu arbeiten, aber doch ganz wie streng im Metrum zu wirken (ber)."
Tiroler Landeszeitung - 28. July 2011
Solo concert at the Rheingau Music Festival - 5.7.2011
"Die Kraft der leisen Töne ...Adam Falckenhagen (1697 - 1756) oder Bernhard Joachim Hagen (1720 - 1787) sind solche Tonsetzer, die das Konzert mit dem Lautenisten Joachim Held jetzt in den Fokus rückte und ihnen den ersten Teil des "Schwanengesang der Laute" widmete. Die Sonate c-moll Sonate Falckenhagens geriet dem Instrumentalisten mit dynamischer Finesse, die die Echoeffekte besonders schön herausstellte. Im Tempo giusto des dritten Satzes flirrten die Akkorde wie flackernde Kerzen und bildeten einen geschmackvollen Gegensatz zum ruhigen Fluss des vorangegangenen Allegros ...Überhaupt diese Ruhe: Die Lautenmusik des Barock besteht vor allem aus kontemplativen Klängen, in die man sich versenken, in ihnen versinken kann. Ohne Frage dürfte der Auftritt Joachim Helds wohl tatsächlich einer der leisesten des Festivals gewesen sein, der dadurch doch umso "lauter" nachklang: In der hektik des Alltags haben solche Inseln der scheinbaren Regungslosigkeit einen hohen Stellenwert..."
www.Schreibwolff.de - 6. July 2011
"Der Zauber der leisen Laute. Joachim Held in Mittelheim. Die Klänge schienen so zerbrechlich, dass man kaum zu atmen wagte: Der Lautenist Joachim Held gab auf Einladung des Rheingau Musik Festivals ein Konzert in der Mittelheimer Basilika St. Aegidius. Die zierlichen Sequenzen und Echowirkungen in derSonate c - moll von Adam Falckenhagen dienten zum Aufbau jener magnetischen Stille, die einen ganz wesentlichen Reiz von Lautenkonzerten ausmacht ...Der zweite Teil des Konzertes war Johann Sebastian Bach und Silvius Leopold Weiss vorbehalten, die zu Lebzeiten gern miteinander musizierten. Der große Qualitätsunterschied zur ersten Hälfte zeigte sich in der B - Dur Sonate von Weiss in gegenläufigen Stimmen über weitgespannte melodische Bögen. Den Abschluss bildete Bachs Bachs Lautensuite in g - moll BWV 995, die auf die gleichen Quellen zurückgeht wie seine fünfte Cellosuite. Hier, wie schon in der vorangegangen Sonate von Weiss, waren Gestus und Tempi der Musik so genau getroffen, dass sie in Magie umschlug..."
FAZ - 9. July 2011
Solo concert at the Ettenheimer Musiksommer Festival - 2.7.2011
"Galante Töne in Vollendung gespielt."
Ettenheimer Stadtanzeiger - 4. July 2011
"Eintauchen in eine vergessene Klangwel ...Für den Samstag hatten die Macher des Ettenheimer Musiksommers mit Echo - Preisträger Joachim Held einen Meisterlautenisten eingeladen, zu einem Abend in der Altdorfer Kunsthalle, und es wurde ein wunderschönes, leises, stimmungsvolles Konzert. Eines, das sein Publikum entrückte in eine vergessene Klangwelt. Denn wer weiß heute schon, wie eine Laute klingt? Dabei war laute Joachim Held die Laute um 1600 das beliebteste Instrument landauf landab... Bei einem Werk von Weiss leistet er Unglaubliches. Bei den schnellen Sätzen schnurrt die Barockmaschine mit höchster Präzision und ist dabei so elastisch wie ein Gummizug. Bei den langsamen Teilen wird er ganz, ganz leise und zupft wunderbare Stimmungen aus seinem Instrument. Wer sich auf diesen vermeintlich monotonen Abend einließ, wurde mit einem der besten Konzerte belohnt, die der Musiksommer bislang bot..."
Badische Neueste Nachrichten - 4. July 2011
Solo concert at the Göttinger Händel Festival - 12.6.2011
"Sanft und hochkultiviert ...Es ist eine ungemein sanfte Kunst, die gleichwohl sehr hohe Anforderungen an den Interpreten stellt. Wie perfekt Held sein Instrument beherrscht, zeigte sich für den Zuschauer in seiner ganz unangestrengt wirkenden linken Hand, die auch die kompliziertesten Akkorde mühelos griff, und nicht minder am virtuos-präzisen Spiel der zupfenden Finger der rechten Hand. Diese hochkultivierte Hausmusik - die drei Händelschen Sätze stammten aus einer Bearbeitung des späten 18. Jahrhunderts- verzauberte die Zuhörer nachhaltig. Die Stücke des Bach- Zeitgenossen Weiss erwiesen sich als spätbarocke Delikatessen edelster Art: reicher Beifall, zwei Weiss - Zugaben."
Göttinger Tageblatt - 15. June 2011
Solo concert at the International Lute Festival in Bremen - 20.5.2011
"...Das mit Spannung erwartete Konzert von Joachim Held, der mit diesem Konzert quasi sein Einstandskonzert für seine Stelle als Professor in Bremen gab, war mit Werken von Adam Falckenhagen, Silvius Leopold Weiss und Johann Sebastian Bach ganz der zeit des Hochbarock gewidmet. Die Interpretation dieser werke gelang ihm mit ungeheurer Farbigkeit, Dynamik und Verve. Durch diese zupackende Spielweise machte er deutlich, das diese späte Lautenmusik von der theatralischen Expressivität lebt und wurde dafür vom Publikum gefeiert..."
Concertino - March 2011
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2010. Merry Melancholy
 "With a CD of English lute music of the Golden Age we are very much back on the beaten track. Joachim Held's Merry melancholy, English lute music of the 16th century (Hanssler CD 98.600, rec 2010, 65?) is the latest release from an accomplished performer and experienced recording artist, and the playing is as technically assured and fluent as one would expect from him. There is such an embarrassment of riches in this repertory of well over 2,000 pieces, including the music of Dowland, that choosing material and programming it are principal issues for an artist embarking on such a project. Here, Held plays 25 pieces, grouped in sets by composer: Lusher (an unusual choice to open with), Robinson, Allison, Dowland, Cutting, John Johnson and finally Rosseter; this achieves a balanced and representative selection of the pre-Baroque phase of English lute music. Inevitably the light, charming, lyrical, music of Robinson and Allison's stylistically conservative passymeasures feel like a curtain-raiser to the six Dowland pieces at the heart of the recording, which include Lachrymae (the longest track, at the midpoint of the disc) and the Frog galliard. Held plays Dowland beautifully, and one might have asked for more, but the following sets remind one that Cutting, Johnson and Rosseter too are substantial and imaginative composers. The disc ends with Rosseter's magnificent chromatic fantasia, once attributed to Dowland. My only slight cavil is that, for my taste, the microphones might have been placed a little closer to the lute and in a slightly less resonant acoustic. Nevertheless a fine recording and a valuable survey of an important repertory."
Oxford Journals, Chris Goodwin - 2011
"Whether or not it's because paying a single lutenist is cheaper than paying a chamber ensemble, to say nothing of a full orchestra, the last few decades have seen the release of a profusion of lute recordings. Those by German lutenist Joachim Held, however, stand out from the crowd. Held is technically superb, capable of producing that effortless quality in which the player's fingers seem almost incidentally to graze the strings. He is backed by fine sound from the reliable Hänssler Classic label, capturing the full range of Held's modern eight-course Renaissance-style lute with a minimum of fuss and extraneous noise. The best feature, however, as with Held's other recordings, is his programming sense. His recordings have explored national styles, in this case the English style. In this he is not alone, but the depth of his exploration is unique. Several of John Dowland's famous works are included, but most of the album is devoted to little-known composers, including Lushier, composer of the lovely opening Almain, who is known only by his surname. The lute pieces by Thomas Robinson, Richard Allison, Francis Cutting, John Johnson, and Philip Rosseter span nearly a century and are not grouped chronologically. Instead, as a lutenist of the age would have done, Held puts them together into sequences that make musical sense and affect the soul. The music seems to pulse with lively detail and then recede into minimalist lassitude, indeed embodying the "merry melancholy" of the album's title. The booklet notes, in German and English, offer biographical detail on the composers for those interested, but even the casual lute lover will find this a compelling recital."
Allmusic.com, James Manheim - 2010
"The concept of "melancholy" held a special place in English art of the 16th and 17th Centuries. Rather than being considered depressive mental condition, it was seen as a deeply poetic element of soaring ecstasy with the power to inspire even bigger, even better deeds. It is no surprise that the subject of "melancholy" came to characterize much of the English music for lute, and the inspiration for much complex and colorful music. Joyful dances, contrapuntal fantasies, and pavanes which luxuriate in chromaticism are all to be found here. Only the most beautiful, haunting works were chosen for this recording. Naturally, John Dowland is represented! His "Lachrimae" was a true international HIT in it's day, and Dowland capitalized on its success by providing numerous editions and arrangements. The program also features the work of other, lesser-known masters such as Francis Cutting, John Johnson and many others who brought the English Lute School to its highest development around 1600. Oh, Merry Melancholy! After having explored the repertoire of France, Italy, Germany and Austria, Joachim Held now presents this CD of English lute music. Throughout these recordings, he has shown not only the diversity which then prevailed in Europe, he also presented his own amazing abilities and stylistic flexibility and mastery of different musical idioms. It shows once again that Joachim Held is one of the best lute players in the world."
5 Av 6 Möjliga I Betyg I Svenska Dagbladet
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English Lute Music of the 16th Century
(Release Date: 2010)
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2008. Musique pour le Roi
"After his jouney to Italy „Che Soávita“ Joachim Held now stops with his Solo Recital „Musique pour le Roi“ at the Houses of Nobility in France of the Baroque. For this he chose Suites of composers like Jacques Gallot, Charles Mouton and Robert de Visée, who were high esteemed Lutenists who worked near to the highest Nobility like Louis XIV. Since the recordings of Helds teacher, at the latest, Hopkinson Smith these names are known not only to Early Music Enthusiasts. Thank to Joachim Held, who made the lute more popular in the last years, the worth of this precious music will be increased many times.
Superficially the dances follow the normal Suite. Even in the old recordings of Konrad Ragossnig and Anthony Bailes, one could could imagine the internal gestures of this „sound microcosm“, but Held fulfills the concentrated Rhethoric with a variety of Colours and Variability which is only rarely heard. With the Theorbo and 11 - course Baroque lute, which both are from the workshop of Klaus Jacobsen in London, he plays with a admiringly clearness for the contrasts of tension and intensity, which point out the strictness and dignity, Contemplation and Calmness in perfection."
Rondo Magazin, Guido Fischer - October 2008
"In his series of publications the award winning Joachim Held devoted himself to the different traditions of compositions for the family of the luteinstruments: Works from Germany and Habsburg play an eminent role, lately Held worked on the italian repertoire. Now he devotes himself to a very special repertoire – the compositions in the area of the french King Louis XIV. for the Lute. The rich tradition is based on experiments with the tuning of the lute and a creative stylistic treatment of the possibilities of the instrument.
Ennemond Gaultier (1575 – 1651) was one of the moulding personalties, followed by a.o. Charles Mouton (1617 – before 1699) or Jacques Gallot (? – 1690). These Masters brought out the „stile brisé“: finely woven compositions combined with a complex technique of composition, the melodic lines are interrupted. An artificial Mixing of the voices increase the impression of complexity and gives the dance movements an artificial character.
Very successful
Also in this repertoire Joachim Held moves very secure and prudently: He presents himself technically strong, precise and with equally beautiful and reserved. The single movements are not shaped to strong characters but embedded in the whole texture. His fine sound - production shapes the works with not too much energy – which seems to be the perfectly right way. Because the rewarding pieces, which are more reflective then full of temperament need a fine treatment, which Held – never an interpret with too strong pressure – follows all the way through this recording. I addition to that the production was recorded with a very clear sound, which reflects perfectly the structure of the music and every register of the used instruments.
All in all this is a very fine interpretation of this special repertoire, which probably will take an important part in the Discographie of Joachim Held who follows pass as interpret in a convincing manner."
Klassik.com, Dr. Matthias Lange - August 2008
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French Lute Music of the Baroque
(Release Date: 2008)
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2007. Che Soavità
"Held's expressive playing is well suited to this repertoire: a combination of opposites, of strength and delicacy, simplicity and sublety. Particular noteworthy is his interpretation of Castaldi's Tasteggio soave, which is hyperbolically described in the sleeve notes as perhaps one of the most exciting chitarrone compositions."
Early Music Review, August 2007
"Again Joachim Held proves, what was already shown in his previous recordings: His technical basis is superior. Convincing fluency, perfect sound fulfill all wishes. Strong dynamic contrasts of the right hand allow a lot of variation. He takes care of the freedom in the Toccatas and by these elements creates an intensive interpretatoric tension."
Klassik.com, July 2007 / Dr. Matthias Lange
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Italian Lute Music of the Baroque
(Release Date: 2007)
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2006. German Lute Music
"Joachim Held is currently considered a star in the world of Early Music… No Festival can be without him and thanks to him the awareness of the lute has considerably grown. What he gets from the instrument is truly astonishing and sounds everything but pedantically old-fashioned."
Böblinger Kreizeitung, June 2006
"With the present programme Joachim Held, however, proves convincingly that next to Bach and his well-known colleague Sylvius Leopold Weiss there were other masters of the lute who reward the interest for them with glorious music."
Klassik-heute.com, June 2006
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German Lute Music of the Baroque
(Release Date: 2006)
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2006. Delightful Lute-Pleasure
"A busy continuo player. Held is therefore an expansive musical imagination: he deploys those distinctive stylistic traits that are the lifeblood of this music with the utmost taste (especially the stile brisée treatment of not only chords but intervals and the subtle inégales) and suggests orchestral colours with ease."
International Record review, April 2006
"The recordings prove the incredible richness and stylistic range of this intimate music. True, one needs to give on to "music coming from silence". The span of expression inside, the corresponding parts, the humour and the melancholy are so close next to each other. To make them visible, without falling into the trap of wrong dramatising, is the all-decisive art of the player. Held manages this with mastery; his dreamlike secureness of playing with the musical time is without comparison. The calm of the beat guaranties the inner dramatisation in its most beautiful way."
Musikforum, March 2006
"Courageous music making, cheerfully interpreted, it is literally a delight to listen to these recordings."
Lauten, February 2006 (Deutsche Lautengesellschaft)
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Baroque Lute music from
the lands of the Habsburgs
(Release Date: 2006)
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2005. Lute Music of the Renaissance
"The playing of Joachim Held is characterised by a lucid and pronounced shaping of sound. To give transparency to the polyphonic development and the desire to shape the melodies intensively can be felt as the aim of the interpreter. His artistic expression aims more at making the structures of the music audible than a mere virtuosic playing…. The listener is taken along into a period, which is particularly worth being visited from the perspective of plucking instrumental music. The quality of sound positively completes this successful portrait of this part of lute music."
Concertino, February 2006
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The Schele Manuscript Hamburg, 1619
(Release Date: 2005)
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2004. Nach willen dein
"With the German lute player Joachim held there seems to build up a successor of Hopkinson Smith. With outstanding technical abilities, lucid clarity of playing and an extraordinary imaginary power of interpretation in his recording of German Renaissance lute music a three stared constellation of lute virtues is shining."
Franz Szabo, May 2004
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Deutsche Lautenmusik der Renaissance
(Release Date: 2004)
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1996. I grandi liutisti Milanesi del Cinquecento
"Joachim Held's playing is a real pleasure to listen to. He brings out the character of each piece, from the fluid improvisatory virtuosy of Francesco's Fantasiasand ricer-cars, to the more formally structured fantasias of Paladino, and the rhythmic vitality and energy of Borrono's dance forms. Throughout this recording Joachim Held makes effective use of tonal and dynamic contrast and shows excellent control of tempo and rubato without ever sounding self - indulgent. In the contrapunctual works he shows an impressive control of the different voices of a composition - demonstrated to particular good effect in Paladino's intabulation of "Anchor che col partire" in which the part writing of the underlying madrigal is never less than crystal clear ..."
Lute Society (of England), March 1998
"Joachim Held has a refreshing and virtuosic manner to approach this music, probably comparable to Paul O' Dette's playing. He doesn't indulge in the lute players' caprice to play every harmony with an arpeggio slowing down and putting a veil on the flow of the music. Instead he chooses lively tempi, doesn't consider the word virtuoso as a devil's creation from the 19th century and shapes these master works he is dealing with, consistently and in a transparent way. Being played legato, not staccato, the melodies sound and thereby can be followed through the plait of voices and accompanied on their way by the listener."
Gitarre und Laute, February 1997
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Great Milanese Lutenists of
the Sixteenth Century
(Release Date: 1996)
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Miscellaneous
"With the partly dissonant 'Toccata cromatica" or the rhythmically varying "Partite sopra la Follia" by Allessandro Piccini, Held shows then how differentiated also the darker and louder sounding theorbo can sound - if the player masters, as he does here, to emotionally shape the work with small retardations and frequent change of colours."
Frankfurter Allgemeine Zeitung
"The stylised dance suites and partitas of the late Baroque period also sparkle with enjoyment of masterful virtuosic playing and in the slow parts, the sarabandes, Joachim Held impresses with his concentrated composure with which he allows the harmonies to fade out linking them in delicately woven transitions and decorations."
Lindauer Zeitung
"The word virtuoso fully expresses what Joachim Held is: he is a master of his art..."
Mitteldeutsche Zeitung
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