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Two mighty piano sonatas bookend Marc-André Hamelin's concert at Sydney's City Recital Hall. 

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

At the Cleveland Chamber Music Society, the Takács Quartet collaborates with Marc-André Hamelin in works by Price and Dvořák. 

Marc-André Hamelin opens his recital with the uncompromising demands of Ives’ Concord Sonata, followed by suites of Schumann and Ravel.

Gustavo Gimeno, Marc-André Hamelin and the Toronto Symphony Orchestra raise the roof with Messiaen’s epic – and eclectic – Turangalîla-Symphonie.

In the Brahms Saal, Marc-André Hamelin juxtaposes three Russian composers with Schubert’s long misunderstood final piano sonata.

A recital of mostly familiar repertoire that draws performances of devastating accuracy this Canadian–Norwegian partnership.

The Cleveland Orchestra and their newly promoted Assistant Conductor Vinay Paraneswaran shed light on the musical pattern-making of the minimalists. And Bach.

Dima Slobodeniouk’s Cleveland Orchestra program included music by Rachmaninov and Nielsen, along with a Liszt piano concerto with Marc-André Hamelin.

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

A rare misfire showcasing the music of minimalism’s all-stars. 

Mozart, Dvořák and Dohnányi takes listeners at the Edinburgh Festival from Prussia to Hungary. 

In their generous all-Stravinsky programme, Ludovic Morlot and Seattle Symphony uncover the hidden beauties of the neglected Perséphone through an innovative collaboration with visual artist Michael Curry.

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

Nicholas McGegan led The Cleveland Orchestra in spirited performances of a Mozart symphony and concerto, the latter with Marc-André Hamelin, and the program was rounded off with suites of music by Rameau and Gluck.

A top heavy programme marred Leif Ove Andsnes and Marc-André Hamelin's two piano recital at Wigmore Hall, though it had its moments of high inspiration. 

One of music’s first “rock stars”, Franz Liszt created the piano recital: performing without a score, turning the piano sideways – so audiences could admire his profile – striding on and off the platform between numbers.

Vladimir Jurowski and the London Philharmonic paired two large-scale Romantic works from the early years of the 20th century

The visiting Budapest Festival Orchestra delivered traditional repertoire with some unexpected quirks.

The monumental shadow of Pierre Boulez loomed rather too large over Ravel's Left Hand Concerto and the full Firebird in François-Xavier Roth's detailed readings.

Canadian pianist Marc-Andre Hamelin combined intimacy, heroism and virtuosity in a concert of music by Field, Schubert, Liszt, Chopin and Yehudi Wyner.

A monumental recital of passionate classics from some members of classical music's royalty, at the Queen Elizabeth Hall.

Bartók's Duke Bluebeard’s Castle makes for an enthralling evening, both in its depth of psychology, its amazing score and in the RPO’s colour filled performance, with stand-ins Sir Willard White and Ildikó Komlósi in fine voice.

A substantial musical menu of works by Wagner, Liszt and Berlioz, the poster boys of 19th century Romanticism, along with a world première, presented by l'Orchestre symphonique de Montréal, Marc-André Hamelin and Kent Nagano. 

Marc-André Hamelin, Martin Fröst and Anthony Marwood join forces at Wigmore Hall in a great selection of mainly 20th century classics by Debussy, Stravinsky, Bartók and Poulenc.

Rare Russian repertoire fails to catch fire, despite the best efforts of Osmo Vänskä and the London Philharmonic Orchestra.

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.

Concerts by Canadian pianist Marc-André Hamelin are always challenging and exciting: a fearless approach to repertoire and unusual programme juxtapositions, combined with insightful musicianship, all underpinned by formidable technique create some of the most compelling musical experiences, and Hamelin’s latest Wigmore Hall offering was no exception.Opening with Charles Ives’ Piano Sonata no.

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.

Each time I hear the Takács Quartet in concert a new excellence comes through: this time it is their gentleness. Schubert’s String Quartet in A minor, “Rosamunde” is allowed to unfold gently, as the petals of a rose open themselves.

Canadian pianist (and sometime composer) Marc-André Hamelin can play anything. Or so it would appear from his recital at Wigmore Hall last night, his first concert in London following his dazzling all-Liszt Prom last Summer.

A "riot of orchestral colour" was promised, but little of it was allowed to flourish.Elgar's Cockaigne Overture, written during the winter of 1900-01, is a portrait of a busy London, conjuring the hustle and bustle of everyday, metropolitan life.

In a setting Liszt himself would have approved of – the grand hall, the plush red velvet swags and tails, the full nine feet of gleaming Steinway stretched across a stage bathed in a curious blue light, the eager Prommers craning in expectation – Canadian pianist Marc-André Hamelin celebrated the composer’s 200th birthday in a recital of coruscating virtuosity and extreme pianism.

The central Austro-German repertoire in this excellently conceived programme was flanked by two Hungarian works from the pen of archivist, educator and composer, Zoltán Kodály. A seamless suite of five deftly orchestrated, and increasingly animated movements, Dances of Galánta (1933) draws on memories of Kodály's happy childhood in the titular market town.

Leif Ove Andsnes founded the Risør Festival only nine years ago, but it's already an important part of the European calendar. Risør is unique because it's a musicians' festival. Everyone gets together in this small Norwegian town, no matter how famous they are. This atmosphere's great for chamber music, so the Wigmore Hall is an ideal second home for Risør in London.

Il n'y a pas eu de round d'observation dans le récital Haydn-Beethoven-Medtner-Rachmaninov du pianiste canadien au festival toulousain.

Marc-André Hamelin bot mit CPE Bach und Beethoven einen virtuosen Klavierabend im Konzerthaus Berlin.

Vision pénétrante, lucide d'Alan Gilbert dirigeant l'Orchestre de Paris et intelligence sonore rare chez Marc-André Hamelin. Au programme : la Symphonie n°4 de Schumann, le Concerto pour la main gauche de Ravel, et Amériques de Varèse.

Marc-André Hamelin ist ein bewundernswerter Künstler, dessen Recital großartige musikalische Erinnerungen schafft.

La Maison Symphonique de Montréal accueillait mardi le pianiste Marc-André Hamelin et l’Orchestre Symphonique de Montréal, sous la baguette de Kent Nagano, pour un concert intitulé « Haydn & Reich ». Au programme : Eight Lines de Reich, le Concerto en sol de Ravel et la Symphonie n° 104 de Haydn.