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Canadian superstar pianist Marc-André Hamelin amazes and moves while hardly breaking sweat in recital at London's Southbank Centre. 

In Schubert's B-Flat Sonata, Hamelin focused on the all-present ambiguities, on the muted shifts in coloring and harmony.

Playing of fearsome technique with fearless regard to the music's demands made for an impressive recital. 

Korean pianist Chi Ho Han recently gave a compelling recital of both classical and contemporary work in an alpine setting that is second to none.

Marc-André Hamelin plays Schubert, and premieres two works never before heard at Carnegie Hall: his own Barcarolle, and a Medtner sonata composed a century ago.

I have commented before about Marc-André Hamelin’s ability to tackle anything the piano repertoire can throw at him: the craggy, disparate edifice of Charles Ives’ Concord Sonata, Stockhausen’s Klavierstück IX, Villa-Lobos’ savage Rudepoema, the mannered classicism of Haydn, and the sweeping romanticism of Liszt.

Anyone who knows the name Marc-André Hamelin will know him foremost for his technique. It is, to use a crude expression, what his brand is built upon.

The virtuoso pianist Marc-André Hamelin played a program of works by Bach, Fauré, Ravel and Rachmaninov, bracketed by his own Variations on a theme by Paganini. Last March in Toronto, when Hamelin snuck this piece into the program as an encore, I wrote that it was “ten minutes of the most fun you’ll ever have crowding around a piano at the end of party.