"[Hamelin's] sensitive interpretations of the Sonata in B-flat major D960 and the Four Impromptus D935 will be hard to better, particular the songlike quality he brings to Impromptu No 2 in A-flat major, the right-hand melody one long line of sinuous beauty." - Schubert Piano Sonata and Four Impromptus CD Review, THE GUARDIAN, May 6, 2018

"Marc-André Hamelin has the art of forcing the listening and scrutinizing the infinitesimal with a limpid and refined simplicity, if in phase with the color of the cover." - Schubert Piano Sonata and Four Impromptus CD Review, LE DEVOIR, May 4, 2018

"Marc-André Hamelin does perceive Schubert as a delicate, lyrical, poetic lieder-meister musician. One might say like a gentle and naïve Beethoven. He lends the Sonata the precise amount of expressive coloration it needs to reveal its charms, and diverse phrasing to prevent ennui. The 22 minute opening movement of the sonata certainly benefits from that type of approach. And unlike Sviatoslav Richter for example, he avoids a heavy-hand in even the loudest passages, and maintains well-judged proportions at all times. The leading melody is always clear and articulate, whilst the other hand always provides the appropriate counterweight." - Schubert Piano Sonata and Four Impromptus CD Review, CLASSICAL MUSIC SENTINEL, April 2018

"It goes without saying that he has the technique and the concentration to get through the piece without strain, but the tempo he chooses ... strikes me as ideal to capture the music’s play of tones and textures." - Morton Feldman's For Bunita Marcus CD Review, CLASSICS TODAY, March 26, 2018

"What made the treatment of Liszt’s ‘Bénédiction’ particularly compelling was the subtle Lisztian flow that Hamelin placed on top of this foundation. The sense of natural unfolding gave one a real sense of visionary journey, exploiting beautifully-refined sensual hues at many points, but never forgetting the reaches of the composer’s underworld either. The softer playing was wonderfully suspended and the almost gossamer-like right hand delivery towards the close was a thing of remarkable beauty." - Recital of Liszt, Debussy, Feinberg, and Godowsky at Vancouver Associates, SEEN AND HEARD INTERNATIONAL, March 11, 2018

"...this two-piano version underlines the sheer audacity of this complex and compelling music. And rather than use it as a vehicle for their own virtuosity – which, incidentally, is never in doubt – Hamelin and Andsnes opt instead for a proportionate and thoroughlymusical performance. Nevertheless, their combined assault in the Glorification of the Chosen One and the Sacrificial Dance left me gasping for breath. Really, I can’t imagine this piece played with more authority and skill than it is here. Huzzahs all round!" - STRAVINSKY Rite of Spring. Concerto for 2 Pianos.  CD Review.  MUSICWEB INTERNATIONAL, February 2018

"...Hamelin and Andsnes know how to create cascades of triple forte tidal waves without ever reducing music to brittle clatter." - STRAVINSKY Rite of Spring. Concerto for 2 Pianos.  CD Review.  STEREOPHILE, February 11, 2018

"Put them in a race and they would come flying across the finishing-line in first place. This is playing that pushes at the limits of what is physically possible, and yet it is still impressively exact." - STRAVINSKY Rite of Spring. Concerto for 2 Pianos.  CD Review.  FINANCIAL TIMES, February 9, 2018

"...Hamelin and Andsnes are irresistibly clear and energetic, so that the sheer physical excitement is on an altogether higher level." - STRAVINSKY Rite of Spring. Concerto for 2 Pianos.  CD Review.  GRAMOPHONE, January 2018

"Hunched over the keys in deep concentration, Hamelin brought to bear a formidable technique and impressive musicianship. There was plenty of tonal variety; thunderous and even sometimes threadbare, from largely undemonstrative playing within well-judged tempi. Fortissimo passages never startled in their violence, yet he conjured considerable intensity from the central development; clarity of tone was at the forefront of this rendition." - Recital at Turner Sims, BACHTRACK, January 18, 2018

"Hamelin’s playing was of the utmost clarity; a contrasting arpeggiated theme added a singing richness while a recurring sighing figure evidenced a certain melancholy beneath the concerto’s sunny veneer." - Mozart Piano Cto. No. 9 with the Cleveland Orchestra, BACHTRACK, November 21, 2017

"Credit for the former belongs to Marc-Andre Hamelin. Not only did the pianist entertain a crowd after the show. During the concert, he also played Mozart the way one always hopes for, with flawless clarity and palpable senses of lightness, freedom, and emotion.

The first and third movements were gaiety incarnate. Hamelin, a virtuoso among virtuosos, seized on the score's playful spirit and engaged with his peers in cheerful, bubbly conversation." - Mozart's Piano Cto. No. 9 with the Cleveland Orchestra, THE PLAIN DEALER, November 18, 2017

"Hamelin played it all brilliantly, finding the right colors both for the framing sections, with their demanding rhythms, and for the lyrical middle movement, particularly in the long solo that starts it off." - Ravel's Piano Cto. in G Major with the St. Louis Symphony Orchestra, ST. LOUIS POST-DISPATCH, November 10, 2017

"Hamelin clearly loves this work, and his concentration shines through, each beguiling, bell-like chord voiced with incredible delicacy and attention to detail. Dim the lights and follow Hamelin's instruction to lower the volume. You'll emerge at the other end a different person. Mesmerising – trust me." - Morton Feldman's For Bunita Marcus CD Review, THE ARTS DESK, October 14, 2017

"What makes Hamelin’s performance so remarkable is that he finds room for an amazing variety of color and nuance within the constricted boundaries of Feldman’s writing. That gives the piece a feeling of unfolding, even progress, while still honoring its intimations of timelessness." - Morton Feldman's For Bunita Marcus CD Review, THE BOSTON GLOBE, September 21, 2017

"Canadian pianist Marc-André Hamelin gave a similarly eyebrow-raising account of the Chopin Second Piano Concerto, a world away from dreamy Romantic indulgence, replacing it with crystalline clarity, an almost Mozartean sense of balance and a surprising muscularity." - Chopin Second Piano Cto. with Scottish Chamber Orchestra, THE SCOTSMAN, August 21, 2017

"Hamelin is scrupulous over every isolated note hanging against a sky of silence, 70 minutes of stillness, a technical challenge of a special kind." - Morton Feldman's For Bunita Marcus CD Review, FINANCIAL TIMES, August 4, 2017

"Marc-André Hamelin presents that world of microscopic nuances with immaculate care. There’s none of the impatience that characterised Ivan Ilić’s reading of For Bunita Marcus two years ago; everything in Hamelin’s performance seems part of a natural, inevitable unfolding, and the Hyperion recording perfectly catches all its details, and clouds of decaying sonorities that colour every silence. As Hamelin shows, the empty spaces in Feldman’s piano writing are as important as the pitches themselves."Feldman: For Bunita Marcus CD review, THE GUARDIAN, July 27, 2017

"The concentration that informs Mr. Hamelin’s performance of Bénédiction de Dieu dans la solitude is as fascinating as the sheer power and nobility he displays in Liszt’s Fantasy and Fugue on the theme BACH. It is in this juxtaposition that we can come to appreciate the musical control and projection that Mr. Hamelin has developed over the past fifteen years." - Recital at Orford Music Festival, LE DEVOIR, July 15, 2017

"Saturday afternoon's chamber music olio featured a lithe, muscular and impressively unified Schumann Piano Quartet in E-flat major, pianist Marc-André Hamelin providing a vital pulse and the string trio of Masao Kawasaki (violin), Beth Guterman Chu (viola) and Michael Mermagen (cello) the warm sound." - Schumann Piano Quartet at Aspen Music Festival, ASPEN TIMES, July 11, 2017

"The Haydn is a lively entertainment originally written for royalty; the Mahler is death and life everlasting and everything in between. How could the Haydn hold its own? Canadian virtuoso Marc-André Hamelin played it brilliantly, then returned with an encore: a little something he’d written for the most recent Van Cliburn competition, where Hamelin was a judge. It was a beast." - Haydn's 11th Piano Concerto with the Minnesota Orchestra, MINNPOST, June 21, 2017

"Such a performance would be well worth the price of admission, but these concerts also feature one of the world’s most accomplished pianists, Marc-Andre Hamelin, showing off his artistry on Joseph Haydn’s 11th Piano Concerto. The composer known as the father of both the symphony and the string quartet doesn’t have his piano concertos performed often, so it was exciting to hear what this artist of the ivories did with Haydn, especially during a tender slow movement of soft resignation and a lightly articulated sadness. Hamelin might be playing Haydn better than anyone in the world right now, so this is a chance worth seizing." - Haydn's 11th Piano Concerto with the Minnesota Orchestra, PIONEER PRESS, June 17, 2017

"Hamelin’s very live performance of the Appassionata made for some real excitement, and pace." - Recital at Boston Celebrity Series, THE BOSTON MUSICAL INTELLIGENCER, May 8, 2017

"The radiant, unison fanfare toward the end of the second movement was a triumph, with the two instruments creating a wide soundscape that practically defied physics." - Mozart, Stravinsky, and Debussy with Leif Ove Andsnes at San Francisco Performances, SAN FRANCISCO CLASSICAL VOICE, May 2, 2017

"Andsnes and Hamelin made things easier for themselves by using two pianos, rather than entwining themselves in the four-hand, one-keyboard variant used in both the other concerts, emphasizing the formality of a give-and-take that brought out every facet of the score and built to monumental heights without completely losing itself in emotional abandon. Even with the formality, though, there was an intimacy to the interaction of two crack musicians at work, which they crowned with an encore, Stravinsky’s “Circus Polka.” Let’s hope they continue their collaboration." - Mozart, Stravinsky, and Debussy with Leif Ove Andsnes at Washington Performing Arts, THE WASHINGTON POST, May 2, 2017

"The standard criticism of this version is that it amounts to a black-and-white deconstruction of this riotously colorful landmark of early 20th-century symphonic modernism, a criticism Hamelin and Andsnes made irrelevant by eloquently arguing the music's merits on purely pianistic terms. They didn't try to imitate an orchestral sonority, which would have been futile. Instead, they played up the tightly interlocking rhythms and clarified dense textures, taking the listener past Stravinsky's gnashing dissonances to show how this revolutionary music is made." - Mozart, Stravinsky, and Debussy with Leif Ove Andsnes at Orchestra Hall, CHICAGO TRIBUNE, May 2, 2017

"Familiar episodes of this score — the pummeling “Dances of the Young Girls,” the ritualistic “Spring Rounds,” the mysterious introduction to the second part — came through with stunning freshness and clarity. There was a long standing ovation." - Mozart, Stravinsky, and Debussy with Leif Ove Andsnes at Carnegie Hall, THE NEW YORK TIMES, April 30, 2017

"The duo’s conclusion, “The Rite of Spring,” was a knockout: the simplicity of the two introductory sections, the elemental power of the explosive accents, and the rhythmic excitement of two keyboard superpowers bringing this great score to vivid life." - Mozart, Stravinsky, and Debussy with Leif Ove Andsnes at Benaroya Hall, THE SEATTLE TIMES, April 25, 2017

"Andsnes and Hamelin illuminated Debussy’s textures with great finesse, drawing out the work’s many allusions, quotations and distant gunfire." - Mozart, Stravinsky, and Debussy with Leif Ove Andsnes at Wigmore Hall, FINANCIAL TIMES, April 2, 2017

"...Andsnes and Hamelin’s performance had the irresistible power and momentum of a juggernaut." - Mozart, Stravinsky, and Debussy with Leif Ove Andsnes at Wigmore Hall, THE GUARDIAN, March 31, 2017

"...there are passages aplenty where he digs deep for a reading of powerful emotion. Hear how he handles the great central climax of the first movement and its cadenza (the shorter of the two), and with what relish the seasoned chamber musician responds to the woodwind soloists in the Intermezzo. The finale storms home in suitably triumphant fashion." - Medtner Piano Concerto No. 2 and Rachmaninov Piano Concerto No. 3 with the London Philharmonic Orchestra CD review, GRAMOPHONE, March 2017

"There’s real musical substance, and Hamelin proves the perfect guide to take us on this particular journey. His ability to shape and master thickets of notes without producing a feeling of heaviness in the work’s outer movements keeps the listener engaged without a trace of monotony." - Medtner Piano Concerto No. 2 and Rachmaninov Piano Concerto No. 3 with the London Philharmonic Orchestra CD review, CLASSICS TODAY, March 2017

"The D flat Major melody that interrupted the movement was as beautiful as one could ever imagine. Hamelin tore through the technically impossible octaves, scales and arpeggios like a stallion at full gallop. From beginning to end, he kept the listener on the edge of their seat." - Recital at Music Toronto, TORONTO CONCERT REVIEWS, March 24, 2017

"Beethoven and Chopin were his two finest vehicles. The former's "Appassionata" Sonata and the latter's Sonata No. 2 he crafted into journeys ranging from poignant to exhilarating. All one could do for most of their duration was sit back and submit to the musical equivalent of two hurricanes." - Recital at the Cleveland International Piano Competition, THE PLAIN DEALER, March 22, 2017

"Hamelin handled the pointy melodies with a nearly percussive approach, in the next instance, issuing liquescent chromatic passages by barely even touching the keyboard. Hamelin’s performance, full of spellbinding technique and beautiful musicality, was stirring..." - Medtner's Piano Concerto No. 2 with the Atlanta Symphony Orchestra, THE ATLANTA JOURNAL-CONSTITUTION, March 10, 2017

"...Hamelin urged a maximum of beauty and contrast from Rachmaninov’s headlong score." - Rachmaninov Piano Concerto No. 3 with the Oregon Symphony, OREGON ARTSWATCH, October 13, 2016

"One moment Hamelin demonically crashed out chords in the lowest register, the next teased out pianissimo plaintive utterances in the treble. He emphasized the wildness of Liszt’s narrative without derailing it.

It was a heroic journey, and at its quiet conclusion, Hamelin was given a hero’s celebration by the audience." - Liszt's Sonata in B minor, La Jolla Music Society's SummerFest Series, THE SAN DIEGO UNION-TRIBUNE, August 25, 2016

"Whether the music called for Hamelin to play slow, stately passages or a flurry of fast notes, he responded with a ferocious intensity that perfectly suited Beethoven's beautiful music. No wonder the crowd leapt to its feet after this piece." - Beethoven's "Appassionata" at Tanglewood, MASSLIVE, August 5, 2016

"Marc-André Hamelin has made a number of outstanding recordings, yet his playing in Franck’s Quintet is in a class apart, captured in sound of almost tactile presence. There are occasions – as in the Molto moderato opening section – when he appears to be merely breathing on the keys, shaping phrases with acute sensitivity to mood and atmosphere." - Franck Piano Quintet with Takács Quartet CD review, THE STRAD, June 16, 2016

"...his playing in the Piano Concerto No. 17 was offered like a flute of fine prosecco: witty, scintillating, joyful, lit with a warm golden glow" - Mozart Piano Concert K. 453 with NAC Orchestra, OTTAWA CITIZEN, May 25, 2016

"The three Book 2 "Images" of Debussy found Hamelin the subtle colorist, operating in his impressionist element. "Cloches a travers les feuilles" ("Bells Sounding Across the Leaves") delighted in delicate sprays of arpeggios over finely controlled washes of piano pastels. Both the second piece and "Poissons d'or" ("Goldfish") were object lessons in applying soft dynamic gradations without any loss of tonal presence." - Recital at Orchestra Hall, CHICAGO TRIBUNE, May 23, 2016

"Above all, this was a profoundly musical interpretation, one in which the listener was able to marvel at the sheer detail of Rachmaninov’s compositional magic while revelling in the virtuosic ease that Hamelin brought to it." - Rachmaninov's Third Piano Concerto with the London Philharmonic Orchestra, BACHTRACK, March 10, 2016

" How good to hear this music not used as a vehicle for ‘self’, and how well the writing takes to a leisurely but not indulged approach, yet with no lack of emotion or spirit and encompassing an unfailing sense of direction." - Rachmaninov's Third Piano Concerto with the London Philharmonic Orchestra, CLASSICAL SOURCE, March 9, 2016

"The nuances of [Marc-Andre Hamelin's] playing brought to light the astonishing craft in Mendelssohn’s work." - Mendolssohn's Piano Concert No. 1 with the Toronto Symphony Orchestra, THE TORONTO STAR, February 26, 2016

"Mr. Hamelin, having spent much of his early career exploring pianistic showpieces on the fringes of the repertory, has a commanding technique. But there was no sense of slumming or condescension. As in his brilliant recordings of Haydn sonatas for Hyperion, Mr. Hamelin approached the relative simplicities with warmth and affection."  - Recital at Carnegie Hall, THE NEW YORK TIMES, January 21, 2016

“[Hamelin] made a brilliant fist of [Ravel‘s Left Hand Concerto]. Since the work dwells largely in the piano’s smoky lower regions, Hamelin found the ideal touch and tone... his lyrical flights and virtuoso cascades had such richness and amplitude that one completely forgot it was all from just one hand. His two-handed Debussy encore had lovely grace and power.“   Ravel‘s Left Hand Piano Concerto w/ BBC Proms, THE INDEPENDENT, August 16, 2015

“Handling with care, but not with restraint, Hamelin indulged in Ravel’s jazz-influenced rhythms and harmonies. His enjoyment was transmitted to the audience who were stunned by Hamelin’s performance.“   - Ravel‘s Left Hand Piano Concerto w/ BBC Proms, SEEN AND HEARD INTERNATIONAL, August 14, 2015

“The highlight of the evening, Ravel‘s Piano Concerto for the Left Hand, which brought out the best in conductor, orchestra and the soloist Marc-André Hamelin...the whole reading had a convincing shape and heft.“   - Ravel‘s Left Hand Piano Concerto w/ BBC Proms, THE ARTS DESK, August 13, 2015

“The ‘jazz’ was darkly edgy, the Mother Goose-like episodes glinted in contrast and Hamelin’s dexterity was impressive... Hamelin offered an encore that was truly exceptional... This was as delicate as you can imagine, yet carrying effortlessly in the Royal Albert Hall – pastel-shaded, so sensitive, and wonderfully alluring and transporting.“   - Ravel‘s Left Hand Piano Concerto w/ BBC Proms, CLASSICAL SOURCE, August 12, 2015

“Mr. Hamelin, with his preternatural clarity and control, qualities that in him don’t preclude sensitivity and even poetry, was an ideal interpreter... When the performance ended, and Mr. Wyner was called to the stage, he bowed not to the audience but to Mr. Hamelin, giving gratitude where it was due.“   - Recital at International Keyboard Institute & Festival, THE NEW YORK TIMES, July 20, 2015

“Marc-André Hamelin has effectively defined himself by espousing the repertory of pianist/composers such as Liszt and Alkan and making the extreme virtuosity they demand look simple. In this Cheltenham music festival morning recital, it was this ease of technique that made his playing of Debussy’s second book of Images so fluid, with tone colours graduated to create a vibrant resonance.“   - Recital at Cheltenham Music Festival, THE GUARDIAN, July 3, 2015

“Ten-finger cascades of chords and jack-hammer rhythms intensify into a tour de force. And what does Hamelin do? He not only attacks this monster piece with visceral power in an insane tempo, he also appears brazenly poised doing it. Straight back, relaxed arms. No trace of the hard work that this is supposed to be.“   - Recital in Hamburg, HAMBURGER ABENDBLATT, June 29, 2015

“The piano‘s elaborate entrance provides an opportunity for showmanship, but Hamelin‘s performance was remarkable from the start for its seeming effortlessness and beauty of tone, no matter how intricate the music. His sound was round, silken and smooth, yet with laser-like articulation as well as thoughtful, personal phrasing.“   - Beethoven Concerto No. 5 "Emperor" w/ New Jersey Symphony,THE STAR-LEDGER, June 9, 2015

“Mr. Hamelin continues his triumphant march through the standard repertory, after years spent exploring arcane material heavy on virtuosic display. The “Emperor” Concerto, for all its musical substance, offers ample scope for virtuosity, and Mr. Hamelin showed his usual easy command in a reading as notable for its exquisite pianissimos and beautifully shaped phrases as for its Beethovenian bluster.“   - Beethoven Concerto No. 5 "Emperor" w/ New Jersey Symphony, THE NEW YORK TIMES, June 8, 2015

“Despite being famous for a muscular brand of pianism, Hamelin took all the fluttering delicacy of Les fées sont d’exquises danseuses in his stride... The Takács Quartet and pianist Marc-André Hamelin were a fine match in a Debussy-dominated programme... utmost virtuosity!“   - Chamber recital w/ the Takacs Quartet at Queen Elizabeth Hall, THE TELEGRAPH, May 19, 2015

“None, though, ranked as highly on the clarity scale as pianist Marc-Andre Hamelin... His Adagio was a thing of special beauty. Through him was channeled Haydn himself, engrossed at the keyboard in a moment of profound, personal reflection. Silken phrasing, Hamelin‘s fairy-like touch, and the score‘s own gentle dissonance combined to conjure a musical scene rare both then and today.“   - Haydn Piano Concerto w/ the Cleveland Orchestra, THE PLAIN DEALER, May 1, 2015

“Hamelin made it clear in his Grieg Concerto performance that he brings more than a set of speedy digits to the concert stage. He is an intelligent and thoughtful artist, one who illuminates the tender eloquence of the Grieg as well as the thundering octaves and bravura flourishes. Hamelin’s clarity of touch was especially evident in the first-movement cadenza, which he played with great freedom.“   - Grieg Piano Concerto w/ Seattle Symphony, THE SEATTLE TIMES, April 24, 2015

“Schubert‘s Piano Sonata in B-flat... utterly distinctive to him and rendered in a manner that could only have been cultivated over multiple decades at the keyboard... Though this sonata is full of repeated notes in regular rhythms, no such thing existed in Hamelin‘s performance but was always handled with deeply considered expressive purpose, shaping phrases with such richness and authority that I often thought, ‘So that‘s what it means!‘... Hamelin‘s virtuoso piano technique was fully harnessed in the service of Schubert‘s unvirtuosic music, allowing soft playing to make a more penetrating impression than usual.“   - Schubert and Debussy recital at Kimmel Center, THE PHILADELPHIA INQUIRER, April 2, 2015

“Hamelin achieved an incredible and sensuous sound at the piano along with his clear and articulate touch... Technically Hamelin was flawless and his mastery and facility at the piano was revealed in this piece, which was enjoyable to experience.“   - Haydn & Mozart on tour w/ Les Violons du Roy, KC METROPOLIS, March 18, 2015

“Hamelin joined for a crisp, but warm, account of Mozart‘s A major Rondo and a brilliant version of Haydn‘s D major Piano Concerto.“   - Haydn & Mozart on tour w/ Les Violons du Roy, THE BALTIMORE SUN, March 18, 2015

“Hamelin performed the Rondo with a light, delicate touch, relaxed yet expressive. He gave the appearance of considering each phrase with due care, finely shaping each note.“   - Haydn & Mozart on tour w/ Les Violons du Roy, THE MORNING CALL, March 12, 2015

“Hamelin is known as a titanic interpreter of late Romantic and 20th-century showstoppers, but the beauty of his Mozart and Haydn shows the extraordinary versatility of his talents: supple, sensitive phrasing, dreamy legato and, always, that golden sound.“   - Haydn & Mozart on tour w/ Les Violons du Roy, OTTAWA CITIZEN, March 8, 2015

“Hamelin exhibited his extraordinary touch... brought more tonal definition to the next piece, a supreme example of impressionism impeccably delivered. It seemed impossible to do what he did, musically making sense of avalanches of chords and arpeggiated passages, balancing dynamics without crossing the imaginary line into gauche or inappropriate.“   - Recital of Field, Hamelin, Debussy and Schubert, THE WHOLENOTE, March 2, 2015

“The sensual elements of breeze, vibration, currents and splash were deftly evoked, especially by Hamelin’s magical undulations, so floating it was as if he had turned the keys into silk.“   - Recital of Field, Hamelin, Debussy and Schubert, MUSICAL TORONTO, March 1, 2015

“Is it possible for a pianist to be too good? If anyone faces jeopardy with that question, it’s Marc-André Hamelin... Outwardly miraculous, beneath the surface it felt as if each note’s every possibility had been considered in advance, then ensconced in a pianism of total authority.“   - 92nd Street Y Recital, THE NEW YORK TIMES, February 22, 2015

Is there anything Marc-André Hamelin can‘t do at the piano?... He was precise and startlingly bright in the Messiaen, giving no sense of effort in confronting the piece‘s considerable technical demands. In Liszt‘s over-the-top virtuoso showpiece, a set of variations on the “Dies Irae“ cast as a quasi-concerto, he gave the keyboard pyrotechnics their full due while still completely in control of touch and tone throughout, with no slop... [He was] urged to return by a riotous ovation.“   - Messiaen and Liszt w/ Oregon Symphony, THE OREGONIAN, January 11, 2015

“Marc-André Hamelin’s stature, extraordinary from the start, increases with every new issue. And here in his latest album he subdues his legendary, transcendent technique to convey Debussy’s very essence with a surpassing ease and naturalness... Hamelin’s glistening sonority is flawlessly captured by the Hyperion team. This is a disc to treasure.“   - CD: Debussy Images and Preludes, GRAMOPHONE, November 21, 2014

“A rich collection for piano connoisseurs of the late Romantic period, performed with impeccable polish and insight by Marc-André Hamelin... Hamelin combines spectacular technique with a clear and immediate understanding of this music.“   - CD: Busoni - Late Piano Music, AUDIOPHILE AUDITION, November 20, 2014

"The seductive tone Hamelin and first violinist Edward Dusinberre brought to their soft solos was almost as disquieting as the tension of their agitated outbursts. And the performance as a whole was a thrilling exception to the over prepared and under characterized readings that dominate concert halls today."   - Franck Quintet w/ the Takacs Quartet, CHICAGO TRIBUNE, October 17, 2014

“Two sets of variations penned by Hamelin demonstrated the composer-pianist’s forte for executing arpeggios and complicated runs. Of the two, “Pavane Variée,” a new composition this year, was filled with impossibly difficult counterpoint, yet Hamelin breezed through the runs with no problem... Hamelin demonstrated his broad and long experience with keyboard Romantics by applying just the right nuances of dynamics and rhythm... Hamelin’s extensive experience and training again created a beautiful rendering of this late Beethoven work. Hamelin demonstrated a commanding elegance in making the first movement runs perfect, filled with light and air.“   - Recital at The Lied Center, University of Nebraska at Lincoln, THE LINCOLN JOURNAL STAR, October 7, 2014

“Hamelin begins with the thorny, grief-stricken Janácek and works his way back, through Schumann’s storybook forest scenes to his evocation of (mostly) innocent childhood. It’s an intriguing journey, not least because you can hear, in Hamelin’s playing, how the two composers relate.“   - CD: Schumann and Janacek, THE BOSTON GLOBE, September 13, 2014

“Mr. Hamelin offered a typically virtuosic performance of the whirlwind, chaotic work, whose driving rhythms and cluster chords are interspersed with brief moments of pensive respite.“   - Recital at the int‘l Keyboard Institute & Festival, THE NEW YORK TIMES, July 22, 2014

“Hamelin made it feel as if he were Schubert himself composing the piece right before our ears, inviting us into his world. That sense of freshness and urgency hung like a glow throughout the leisurely paced first two movements.“   - Recital at Aspen Music Festival, THE ASPEN TIMES, July 19, 2014

“[On an Overgrown Path] proves to be a totally compelling experience confirming Hamelin‘s strong empathy for the composer…and the two Schumann cycles here are absolutely magical.“    - Recording of the Month: Janacek and Schumann, BBC MUSIC MAGAZINE, June 1, 2014

“Hamelin did so with absolute conviction, his springy rhythms and crystalline fingerwork balanced against the strings and winds in such a way that there was a feeling of easy give-and-take between the piano and orchestra. Hamelin and Labadie are close colleagues and their musical responses to each were like the conversation of kindred souls. “   - Haydn Piano Cto w/ Chicago Symphony and Bernard Labadie, CHICAGO TRIBUNE, May 9, 2014

“The score showcased Hamelin’s saturated touch — from hushed clusters to hammered accents, one always feels that Hamelin is drawing the maximum amount of color from the instrument.“   - Trio concert w/ Anthony Marwood and Alexander Fiterstein, BOSTON GLOBE, May 5, 2014

“Their ensemble playing transcended the expected level of professionalism and shot straight into musical camaraderie.“   - Trio concert w/ Anthony Marwood and Alexander Fiterstein, SAN FRANCISCO CLASSICAL VOICE, April 30, 2014

“The longer partnership between Marwood and Hamelin could be heard in the tautly coiled rhythms of Schubert‘s Rondo in B Minor, which opened the evening in a superb rendition that was all theatrical vigor and sharp swerves of direction.“   - Trio concert w/ Anthony Marwood and Alexander Fiterstein, SAN FRANCISCO CHRONICLE, April 29, 2014

“In Franck’s Variations symphoniques for piano and orchestra, Hamelin exhibited spectacular touch, crisp but blooming, tossing off glittering flourishes with ease as well as care. His softer playing was tender, and his phrasing was made supple by tasteful rubato.“   - Franck Symphony Variations w/ New York Phil and Sir Andrew Davis, NEW YORK CLASSICAL REVIEW, April 25, 2014

“It was exhilarating to hear this paragon of virtuosic refinement allow himself a more impetuous mode of playing... As usual with this pianist, however, the playing frequently silenced criticism. The martial dotted rhythms that open the sonata were astonishingly crisp, exactly as Brahms must have wanted...“   - Brahms sonatas w/ Emanuel Ax at Symphony Hall, THE BOSTON GLOBE, April 15, 2014