James Baillieu


Described by The Daily Telegraph as ‘in a class of his own’, in 2012 James won a Borletti-Buitoni Trust Fellowship Award and a Geoffrey Parsons Memorial Trust Award.  He was selected for representation by Young Classical Artists Trust (YCAT) in 2010.

An accomplished chamber musician, soloist and accompanist, James collaborates with singers and instrumentalists including Lawrence Power, the Heath Quartet, Mark Padmore, Sir Thomas Allen, Dame Kiri te Kanawa, Pumeza Matshikiza, Allan Clayton, Jacques Imbrailo, Ailish Tynan and John Mark Ainsley.  Venues include Wigmore Hall, Berlin Konzerthaus, Vienna Musikverein, Bridgewater Hall, National Concert Hall Dublin and the Bergen, Spitalfields, Aldeburgh, Cheltenham, Bath, City of London, St Magnus, Norfolk & Norwich, Brighton, Verbier and Aix-en-Provence Festivals.   As a soloist he has appeared with the Ulster Orchestra, the English Chamber Orchestra and at the Petworth Festival with the Wiener Kammersymphonie.

Born in South Africa, James studied at the University of Cape Town and the Royal Academy of Music in London with Michael Dussek, Malcolm Martineau and Kathryn Stott. He was appointed a Hodgson Junior Fellow in 2007, a Professor of Piano Accompaniment in 2011, and awarded an ARAM in 2012.

This is for information only and should not be reproduced. Please contact Sophie Robertson for a full biography and for performance details.

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    Der Wanderer an den Mond



Sparkassen-Forum Hannover, HANNOVER

Franz Schubert (1797-1828) 17’30
Drang in die Ferne (Leitner) D770
Im Freien (Seidl) D 880
Das Heimweh (Hell) D 456
Der Wanderer (Schmidt) D 489
Hugo Wolf (1860-1903) 13’20
Der Musikant (Eichendorff)
Heimweh (Mörike)
Fussreise (Mörike)
An die Geliebte (Mörike)
Andenken (Matthisson)
Edvard Grieg (1842-1907) 15’00
Sechs deutsche Lieder op. 48
Gruß (Heine)
Dereinst, Gedanke mein (Geibel)
Lauf der Welt (Uhland)
Die verschwiegene Nachtigall (von der Vogelweide)
Zur Rosenzeit (Goethe)
Ein Traum (Bodenstedt)

Baritone: Benjamin Appl

Aula der Alten Universität Heidelberg, HEIDELBERG

Franz Schubert – Seligkeit (Hölty) D 433 1’50
Max Reger – Des Kindes Gebet (Rafael) op. 76/22 1’40
Franz Schubert – Freude der Kinderjahre (Leitner) D455 1’20
Johannes Brahms – Wiegenlied (Volkslied) op. 49/4 1’30
Franz Schubert – Der Einsame (Lappe) D800 4’20
Johannes Brahms – Mondnacht (Eichendorff) op. 3/5 2’50
Franz Schreker – Waldeinsamkeit (Arnold) 3’10
Johannes Brahms – Mein Mädel hat einen Rosenmund (Volkslied) 2’00
Alma Mahler – Bei dir ist es traut (Rilke) 2’20
Richard Strauss – Allerseelen (Gilm) op. 10/8 3’06
Franz Schubert – Nachtstück (Mayrhofer) D672 5’50
Franz Schubert – Drang in die Ferne (Leitner) D 770 3’40
Franz Schubert – Der Wanderer an den Mond (Seidl) D870 2’20
Adolf Strauss – Ich weiß bestimmt, ich wird’ dich wiedersehn (Hift) 3’40
Franz Schubert – Das Heimweh (Hell) D 456 1’22
Franz Schubert – Der Wanderer (Schmidt) D489 5’50
Francis Poulenc – Hyde Park (Apollinaire) FP 127/2 0’50
Benjamin Britten – Greensleeves (folk song) 2’10
Ralph Vaughan-Williams – Silent Noon (Rosetti) 4’00
Henry Rowley Bishop – Home, sweet home (Payne) 3’10
Peter Warlock – My own country (Belloc) 2’19
Peter Warlock – The Bachelor (Anonymus) 0’50
John Ireland – If there were dreams to sell (Beddoes) 2’00
Edvard Grieg – Sechs deutsche Lieder op. 48
Gruß (Heine) 1’20
Dereinst, Gedanke mein (Geibel) 2’50
Lauf der Welt (Uhland) 1’50
Die verschwiegene Nachtigall (von der Vogelweide) 3’40
Zur Rosenzeit (Goethe) 3’40
Ein Traum (Bodenstedt) 2’40

Baritone: Benjamin Appl

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Recital, Kathryn Rudge

Wigmore Hall

'James Baillieu showed why he is the heir apparent to such luminaries of the world of ‘accompanists’ … even with the piano lid fully raised Baillieu never once over-powered his soloist, yet there was not a gesture that was not defined with crystalline eloquence and when he took the opportunity to indulge in powerful expressive utterance, it was always with the utmost taste and composure.'

Claire Seymour, Opera Today, 13 February 2017

Recital, Tim Mead

Wigmore Hall

'Baillieu had some lovely illustrative moments in the piano, such as the galloping horses, and the climax was thrillingly vivid.'

Robert Hugill, Planet Hugill, 30 January 2017

'James Baillieu, who has decisively and rapidly established himself as a remarkably astute accompanist, was on magnificent form – just to hear his playing in the Roe or in Britten’s ‘O Waly, Waly’ gave you an idea of his calibre, and he really clicked with Mead.'

Peter Reed, Classical Source, 30 January 2017

'Baillieu, with his warm sound and empathetic ear, is one of our favourite pianists these days. His playing reminds us of something Steven Blier said about the job of the accompanist, how it's like taking a singer by the hand and leading them down a hallway of doors. At each door, the pianist opens it for the singer, and asks if they want to go in; if they do, they join them enthusiastically, and if they don't, the pianist simply invites the singer through the next door. Baillieu has a knack for creating a soloistic phrase out of a singer's intent; he follows, without losing his autonomy.'

Jenna Douglas, Schmopera, 30 January 2017

Recital, Jamie Barton

Wigmore Hall

'... she could then release a final magnificent inundation over Sibelius’ hyper-romantic Flickan kom ifran and Var det en drom, ably supported by James Baillieu’s rapturous pianism.'

Rupert Christiansen, The Telegraph, 24 October 2016

'The beauty of the phrasing was remarkable, and was complemented in ‘Ständchen’ (Serenade) by Baillieu’s initial lightness of touch and subsequent depth of sentiment.'

'A les je tichý kolem kol’ (And all the wood is silent all around) was one of the highpoints of the recital; Baillieu’s falling arpeggios dripped with aching languor and there was a veiled quality to both the vocal line and the accompaniment that, while injected with greater definition as the song progressed, suggested a world beyond. '

Claire Seymour, Opera Today, 24 October 2016

' Baillieu opened Cuando tan hermosa os miro with stylish Iberian flourishes before Barton entered in dramatic fashion...'

'Baillieu brought enormous charm and lightness of touch to the serenading accompaniment in Ständchen ...'

'Baillieu gave us some exquisitely delicate playing in the opening section of Säv, säv, susa while Barton moved seamlessly from dreamy lullaby to stirring recitative....'

Robert Beattie, Seen and Heard, 26 October 2016

'Her pianist James Baillieu was subtle and supportive throughout, whether in the energy surge of Brahms' "Meine Liebe ist grün”, a faultless headlong dive, or the intriguing quirky postludes to the Charles Ives songs.'

Sebastian Scotney, The Arts Desk, 26 October 2016

Three Choirs Festival

Gloucester, Marcus Farnsworth

'...Finzi’s Earth and Air and Rain, with pianist James Baillieu's expressive playing setting the seal on their interpretation. This recital also saw the premiere of Matthew Martin's Sonnets of Petrarch, setting three poems which reflect on the transience of life and the consolation of the death. Martin’s piano-writing betrayed his organist background, but Farnsworth and Baillieu invested the whole with a palpable intensity.' Rian Evans, The Guardian, 28 July 2016

ECHO Baden-Baden

Festspielhaus Baden-Baden

James Baillieu begleitet einfühlsam. Neuester Nachrichten/ Karin Heineke-Dietz
Der Sänger Benjamin Appl und der Pianist James Baillieu, öffneten weit das Tor der Musik und gaben mit den Liedern der musikalischen Faszination zusätzlichen Raum.
Neuester Nachrichten/ Karin Heineke-Dietz

Recital, Heath Quartet

Wigmore Hall

'Baillieu’s outstanding musicianship in the Elgar Piano Quintet was another story. Supplying both the sensitivity and virtuosity required, he was at one with the strings here in playing with breathtaking unity of purpose.'

'...all five players found the profound depth and warmth at the heart of one of Elgar’s greatest masterpieces.' John Allison, The Telegraph, 6 January 2016

I Heard You Singing

Opus Arte

'Tenor Ben Johnson, light-voiced and lyrical, with high notes to make you swoon, and pianist James Baillieu, alert and responsive, are ideal duo partners...' Fiona Maddocks, The Guardian, 10 January 2016

Recital, Iestyn Davies and Allan Clayton

Wigmore Hall

'Plaudits should also go to the excellent pianist James Baillieu, who contributed much to the make-up of the programme and accompanied with an unassertive sensitivity and imagination that illuminated every aspect of both music and text.' Rupert Christiansen, The Telegraph, 5 December 2015
'...Canticle II: Abraham and Isaac’, which these wonderful singers and their excellent accompanist James Baillieu turned into white-hot drama.' Michael Church, The Independent, 5 December 2015
'There was keen intelligence in the programming, an ear for subtle literary and musical connections, and significant personal investment... into the commission of Nico Muhly’s Lorne ye my Liking. There was also some of the most sheerly beautiful singing and playing to be heard from this generation of musicians.'

'...Canticle I: My Beloved is Mine, its rhapsodic, guileless descriptions of perfect love traced sweetly by Clayton and Baillieu.'
Anna Picard, The Times, 7 December 2015

Highgate International Chamber Music Festival

St Anne's Church

'...with the star accompanist James Baillieu at the piano...' Etcetera, 27 November 2015

Wigmore Hall 1: 27 September 2015

Wigmore Hall

"Neven and James Baillieu’s collaboration and sense of Schubertian style were unerring here, and came into even sharper focus in ‘Augenlied,'...

In a full survey of Schubert’s songs, someone had to perform all 26 verses of ‘Der Taucher’ and it fell to Neven and Baillieu; in some ways, it’s as much a tour de force for the pianist as for the singer, given how much he has to do to suggest those turbulent waters, about which we hear so often. Baillieu negotiated the challenging phrases with aplomb, especially the depiction of the final doomed dive

The highlight of the recital’s second half was a finely judged ‘Ganymed’ with especially gripping playing from Baillieu in the final section...".

Melanie Eskenazi, Music OMH, 28 September 2015


Southwell Festival

Southwell Minster

..."James Baillieu —a featured artist in the coming Wigmore Hall season —throwing off the virtuoso piano writing
with insouciant ease and shaping Schubert’s songlike melodies with the instinct of a natural singer’s accompanist." Hugh Canning, southwellmusicfestival.com, 6 September 2015


Wigmore Hall

"James...managed to be both restrained and unfailingly sensitive to his soloist and endless inventive with the musical details, all of which were communicated with clarity and elegance". Claire Seymour, Opera Today, 5 June 2015

Brighton Festival


"In a sublime partnership of true musical minds, Benjamin Appl and James Baillieu presented a programme of stunning sensitivity for their Festival recital at All Saints."

"There was a natural perfection in Bailleu’s performance that made technique disappear to become part of a larger whole."

Louise Scweitzer, The Argus, 18 May 2015

"I loved this intelligently balanced programme of Liszt, Rubenstein, Dvořák and Schumann songs."

"Ballieu and Appl, masters of delicacy, had no problem making the generous church acoustic ring even with the quietest tones, almost silence. Their encore, Richard Strauss’ ‘Morgen’, with its yearning introduction, promise of happiness and blissful melancholy, gave perfect closure to this exquisite recital."

Andrew Connal, The Latest, 15 May 2015

"This whole concert was full of delightful contrasts. Playful, passionate, world-weary, James Baillieu’s masterful programming could not have been more varied or enchanting. The exuberant encore, ‘Love Went A‑Riding’ by Frank Bridge, made a stunning climax."

Andrew Connal, The Latest, 06 May 2015

Rosenblatt Recital

Wigmore Hall

...impressed by the stimulating fare provided by these two young and prolific artists... Richard Nicholson, classicalsource.com, 8th April 2015

Myths of Eastern Europe

Perth Concert Hall

...these concerts which have highlighted some marvellous music from the Balkans and beyond, thanks to pianist James Baillieu and his guests. This Sunday, it was Baillieu and the Heath Quartet whose performance of music by Martinu, Bartok and Szymanowski made it an afternoon to remember. The Courier, 18th Feb 2015

Love's Old Sweet Song

Champs Hill Records

...well supported by James Baillieu and the pair treat each song with the same care and sense of seriousness. Robert Hugill, www.planethugill.com, 28th February 2015
"Outstanding performances of every piece; I loved every minute of it...if you like exceptionally thoughtful music-making, this album is for you....Baillieu’s playing is warm and supportive."
American Record Guide, October 2015

Recital with Benjamin Appl

Musikfest Kassel

Ebenso am Erfolg beteiligt war der vorzügliche Pianist James Baillieu, der mit glasklarer Präzision eine reiche Palette vom impressionistisch Glitzernden bis hin zu markanten Impulsen ausspielte. Einen weiten Bogen spannten die „Lieder über das Fortkommen“ mit ihren Bildern, Gefühlen und Reflexionen. Von Georg Pepl, Hessische/Niedersächsische Allgemeine, 13 June 2014

Opus Arte Vocalise

With Adam Walker

James Baillieu provides accompaniments with just the right degree of often gentle support, balanced with the flute to perfection.

Gramophone, July 2013



Signum Records

The expressive nuance of James Baillieu’s piano accompanying is reminiscent of Britten’s own.

Hilary Finch, BBC Music Magazine, July 2013

Recital with Marcus Farnsworth

Wigmore Hall

Marcus Farnsworth had earned his Winner’s Recital but he was upstaged by his prodigiously gifted pianist.  James Baillieu is surely the leader of the new generation of accompanists and will no doubt occupy the elite position currently held by such as Graham Johnson, Julius Drake, Malcolm Martineau and Roger Vignoles.

Classical Source, April 2011

Wigmore International Song Competition

Wigmore Hall

James Baillieu is in a class of his own, he is in the Gerald Moore/Graham Johnson bracket, a remarkable pianist.

The Daily Telegraph, September 2009
The Pianist’s Prize was awarded to that magician of the keyboard James Baillieu...

Musical Pointers, September 2009

Recital with Allan Clayton

Wigmore Hall

…Expertly accompanied by James Baillieu.

The Daily Telegraph, January 2009
James Baillieu, showed sensitivity and disarming simplicity in his approach to four of Hugo Wolf's Eichendorff Lieder, before turning to Schumann's setting of the poet in his Op 39 Liederkreis.

The Times, January 2009



I Heard You Singing

Ben Johnson, Tenor
James Baillieu, Piano

Audience Prize-winner at BBC Cardiff Singer of the World (2013), accomplished young English tenor Ben Johnson lends his dulcet tones to a programme featuring a bouquet of ballads from the British Isles. This song form enjoyed extraordinary popularity in private homes throughout the Victorian, Edwardian and Modern eras, inspiring generations of talented composers – men and women – to marry words and music in a delightful variety of styles.
Opus Arte

Love's Old Sweet Song

Kathryn Rudge, mezzo-soprano
James, Baillieu, piano

Kathryn Rudge presents a recital disc of songs and ballads in English, written between 1823 and 1945 by British composers whose lives were affected by the great war...She is joined on this recording by James Baillieu, a Borletti-Buitoni Trust Fellowship Award winner in 2012, Royal Academy of Music Professor of piano and described by the Daily Telegraph as 'in a class of his own'

Release date: 2nd February 2015
Catalogue number: CHRCD092
Champs Hill Records


Adam Walker (flute) & James Baillieu (piano)

Barber, S: Canzone for Flute & Piano Op. 38a
Bartók: Suite paysanne hongroise
Messiaen: Leçons de solfège
Poulenc: Flute Sonata, Op. 164; Vocalise
Schubert: Variations pour piano et flûte, Op. 160

Catalogue No: OACD9012
Opus Arte

Britten Canticles

Benjamin Britten: The Canticles

Ben Johnson
Benedict Nelson
Christopher Ainslie
James Baillieu
Lucy Wakeford
Martin Owen

Signum Classics / BBC Radio 3
Signum Classics