Author: Eunu Song


PressListening to Beethoven, While Walking the Dog and Dodging Cars

Pierre-Laurent Aimard, the French pianist, was staring up at the beautiful blue sky on Tuesday morning and playing the solemn strains of a Beethoven sonata

The program felt, in these surroundings, appropriately nocturnal, the park’s forested paths a mirror of the moody depths and wary, milky, moonlit glints of Messiaen’s “L’Alouette Lulu” (“The Woodlark”), from his “Catalogue d’Oiseaux” (“Catalog of Birds”). From the beginning, Mr. Aimard’s playing was a study in reverberation; it was perceptible even through slipping headphones how the music expanded in space and time. I only regret that, just as he moved from “L’Alouette Lulu” into the classic, slowly unwinding first bars of Beethoven’s “Moonlight” Sonata, I accidentally turned off my phone.

Despite that unwelcome pause, Mr. Aimard’s point was clear: Messiaen’s forlorn yet slyly confident sounds were Beethoven’s, too. The transitions were crucial in this presentation; I think that by paying close attention to those, I experienced much of what Mr. Aimard wanted me to, even if I lost other aspects of the performance while trying to keep a halfway decent running pace. –The New York Times


Performing at the Gilmore Festival

On November 8, Pierre-Laurent Aimard returns to the Gilmore Festival to participate in the Virtual Piano Masters series. Featuring a program with works by Beethoven, Messiaen, and Stockhausen, Pierre-Laurent performs virtually in …

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Concert Streams 

Despite cancellations of many events due to Covid-19, Pierre Laurent Aimard continues to present live-streamed recitals and concerts. Check back often for updates! November 19, HR Sinfonieorchester Live-streamed performance with the HR …

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Fall Concert Update

Due to the global pandemic, the following events have been cancelled or postponed. Please check back for future announcements with further details. September 19, 2020Bartók: Piano Concerto No. 3Netherlands Radio Philharmonic OrchestraAmsterdam, …

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Fall Concert Preview

This September, Pierre-Laurent Aimard begins an exciting fall season with recital and solo appearances across Europe.  Starting off in Switzerland, where Pierre-Laurent performs Beethoven’s first five piano concertos over the …

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Relaunch of “Explore the Score”

The Klavier Festival Ruhr has relaunched its “Explore the Score” website, which now includes an English version. “Explore the Score” offers young pianists the opportunity to discover the world of …

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PressBeethoven the Avant-Gardist: A Pianist Makes His Case

“If Beethoven has been everywhere in this year of his 250th birthday, innovative ways of presenting his music have not. Among the symphony cycles, string quartet surveys and re-enactments of his most famous concerts, few artists have asked us explicitly to rethink what Beethoven might mean for us today.

Pierre-Laurent Aimard has done that — or was planning to. A restless intellect as incisive in Bach as he is intelligible in Boulez, the French pianist, 62, was scheduled to give recitals at the Celebrity Series of Boston and the 92nd Street Y before the coronavirus outbreak intervened — recitals that would have put Beethoven in the context of other avant-gardists.” –The New York Times


Spring Concert Update

Due to the global pandemic, the following events have been cancelled or postponed. Please check back for future announcements with further details. March 16, 2020 Recital Amici Della Musica Florence, Italy March …

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PressBeethoven: 1808 Reconstructed, Aimard, Philharmonia, Salonen, RFH review – a feast in fading light

“The Philharmonia, accompanied by pianist Pierre-Laurent Aimard, the Philharmonia Voices, the Rodolfus youth choir and a handful of vocal soloists, delivered with an impressive stamina and focus that never ruled out the light and shade that this massive suite of masterpieces demanded.” –The Arts Desk


PressPierre-Laurent Aimard review – takes challenge to another level

“Aimard played the Beethoven first. Using the sustaining pedal sparingly, it was a performance of unflinching, sometimes startling clarity, especially in the colossal fugue with which the sonata ends, but it was always more convincing on the tumult than the poetry. The huge Adagio (the longest slow movement Beethoven ever wrote) was never as poised and other-worldly as it can seem in some performances, and the final climax was more clangorous than consoling.” –The Guardian