Recent News
12.12.18
Keith Lockhart
KEITH LOCKHART JOINS THE ROSTER
12.10.18
Vienna Boys Choir
Classical Album of the Week: Vienna Boys Choir Sings Strauss
WRTI
12.07.18
JoAnn Falletta, Mariss Jansons, David Alan Miller, Peter Oundjian, Patrick Summers, Alexandre Tharaud, Magos Herrera & Brooklyn Rider , Mason Bates, Symphonieorchester des Bayerischen Rundfunks, Munich , Academy of St Martin in the Fields , Les Violons du Roy , Anthony Roth Costanzo, Nathan Gunn
2019 Grammy Nominees
Grammy Awards
12.07.18
New York Philharmonic String Quartet , Yefim Bronfman
Bronfman, NY Philharmonic Quartet impress at Linton Series
Cincinnati Business Courier
12.06.18
Aaron Diehl
Pianist Diehl in jazz trio plays varied concert in Palm Beach
Palm Beach Daily News
12.06.18
Julian Wachner
This Is the Best ‘Messiah’ in New York
The New York Times
12.04.18
Sir Andrew Davis
ELGAR The Music Makers. The Spirit of England (Davis)
Gramophone
12.03.18
Chanticleer
Chanticleer Christmas concert, 11/30/18
Divamensch
12.01.18
Ward Stare
Twin pianists deliver impeccable style in ‘Perfect Pairs’ concert
Sarasota Herald Tribune
11.27.18
Richard Kaufman
PHANTOM OF THE OPERA HAUNTS THE SOROYA IN REAL TIME
Broadway World

News archive »

Review: Haydn Piano Sonatas and Concertos

03.01.15
Anne-Marie McDermott
International Record Review

"The wonderful late C major Sonata (Hob. XVI/50) and the even greater E flat Sonata (Hob. XVI/52) demand pianism of the highest order – by which I mean, in addition to the nimblest of fingers, the essential but elusive elements of imagination and insight. Happily, there is no shortage of either, in this pianist’s armoury. Very typical are the fleet-fingered articulation McDermott shows in the very first track of the first CD, the F major Sonata (Hob. XVI/23), where the opening movement is taken at a cracking tempo that outsprints Jean-Efflam Bavouzet’s fine 2012 version of the same piece (likewise on a modern piano). What is also immediately striking is her superlative control of levels of dynamics: she seems to have every level from pp to ff at her instant beck and call. Allied to a feather-light staccato touch, ultra-smooth, even pearly, runs and trills, impeccable repeated notes, and the sense that she’s listening hard all the time to her left hand as well as to her right, and you have the hallmarks of an impressive classical player. Her preferred instrument is proclaimed as a Yamaha: what’s the difference for the listener? Is it a slightly lighter bass end? Or that may be an impression produced by the excellent recording – everything here, concertos as well as sonatas, was recorded over four days in the concert hall at Odense in Denmark. It sounds noticeably different from Bavouzet’s Steinway."

Read the full review (pdf).