Malcolm Martineau


Malcolm Martineau is one of the world's greatest accompanists. He appears throughout Europe, North America, the Far East and Australasia with many of the world's greatest singers and records widely for the major recording companies. Recording projects have included Schubert, Schumann and English song recitals with Bryn Terfel (for Deutsche Grammophon), Schubert and Strauss recitals with Simon Keenlyside (for EMI), recital records with Angela Gheorghiu and Barbara Bonney (for Decca), Magdalena Kozena (for DG) and Della Jones (for Chandos), the complete Faure songs with Sarah Walker and Tom Krause, the complete Britten Folk Songs for Hyperion, and the complete Beethoven Folk Songs for Deutsche Grammophon. Other recordings include the complete  Poulenc and Mendelssohn songs, Schubert with Florian Boesch, Heimlische Aufförderrung and Scene! with Christiane Karg and Portraits with Dorothea Röschmann.

He was made an OBE in the 2016 New Year’s Honours.

This is for information only and should not be reproduced. Please contact Kate Baylis for a full biography.

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  • Scene! with Christiane Karg



Oriental Club, LONDON

SCHUMANN: Belsazar; Die feindlichen Brüder; Die beiden Grenadiere
SCHUMANN: Dichterliebe
R. VAUGHAN-WILLIAMS: Songs of Travel
WARLOCK: Captain stratton’s fancy
QUILTER: Drink to me only with thine eyes
HATTON: Simon the Cellarer; Have some Maderia m’dear


Dora Stoutzker Hall, CARDIFF

HAYDN 'The mermaid's song'
HAYDN 'The wanderer'
HAYDN 'A pastoral song'
HAYDN 'She never told her love'
HAYDN 'O tuneful voice'

SCHUMANN 'Er ist's' op79/24
SCHUMANN 'Frühlingsnacht' Op39
SCHUMANN 'Nachtlied' Op96/1
SCHUMANN 'Liebeslied' Op 51/5
SCHUMANN 'Requiem' Op 90/7
SCHUMANN 'Singet nicht in Trauertönen' Op98/7

GRIEG '6 Songs' Op 48

SIBELIUS 'Våren flyktar hastigt'
SIBELIUS 'Den första kyssen'
SIBELIUS 'Var det en dröm'
SIBELIUS 'Säv säv susa'
SIBELIUS 'Svarta rosor'


Wigmore Hall, LONDON

Nähe des Geliebten (Goethe) D162
Vergebliche Liebe (Bernard) D177
Liebe schwärmt auf allen Wegen (Goethe) D239/6
Das Rosenband (Klopstock) D280
Lambertine (D301) Anon – [formerly attrib. Stoll]
Die verfehlte Stunde (Schlegel) D409
* * * * *
Gott im Frühlinge (Uz) D448
Aus Diego Manzanares (Krosigk) D458
Pflicht und Liebe (Gotter) D467
Der Sänger am Felsen (Pichler) D482
Die Blumensprache (Platner) D519
La Pastorella al prato (Goldoni) D528


Mignon I ‘Heiss mich nicht reden’ D726
Mignon II ‘So lasst mich scheinen’ D727
Der Blumen Schmerz (Mailath) D731
Nachtviolen (Mayrhofer) D752
Du bist die Ruh (Rückert) D776
Auf dem Wasser zu singen (Stolberg) D774
* * * * *
Im Frühling (Schulze) D882
Über Wildemann (Schulze) D884
Heimliches Lieben (Klenke) D922
Frühlingslied (Pollak) D919

Soprano: Elizabeth Watts

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Florian Boesch

Edinburgh International Festival

'...the communication between him and pianist Malcolm Martineau – absolutely on peak form here – could not have been more immediately obvious in the rhythms, pauses and dynamics. The animation they both later brought to Impatience was another revelation: Boesch and Martineau are quite simply the people you want to hear perform this work...' Keith Bruce, Herald Scotland, 25 August 2016

Magdalena Kozena

Edinburgh International Festival

'...he remains as expressive and sensitive a partner of singers as ever. Neither the Wolf sequence not the Schoenberg songs would have been the same without him, with much of the musical wit in the performance emanating from his fingers.' Keith Bruce, Herald Scotland, 15 August 2016

Songs by Max Reger

Sophie Bevan ; Hyperion

'Martineau is consistently immaculate as an accompanist.' Andrew Clements, The Guardian, 4 August 2016

Faure: Complete Songs Vol.

Signum Classics

'Malcolm Martineau, number one pianist of choice for so many singers, follows his Poulenc series for Signum with another survey of a French composer’s songs. Fauré’s music here benefits from his light but purposeful touch and mercurial responsiveness to the words of his singers – a team of eight, mixing experience and freshness.
Martineau is in his element throughout, guiding the songs unerringly and keeping sensuality and simplicity in balance.' Erica Jeal, The Guardian, 7 July 2016
'The last word here, though, belongs to Malcolm Martineau. Make that five words: collaborative, sensitive, virtuosic, insightful, indefatigable. Fauré makes insistent use of arpeggios in his accompaniments, but has anyone made these sing more eloquently? The pianist’s fingers dance across ‘Le papillon et la fleur’ as though it were one of Satie’s cabaret songs; they ripple gently beneath ‘Rencontre’, heat up the febrile clusters of ‘Toujours!’ and find reams of expression in the pared-back writing of Le Jardin clos. Martineau is a pure and faithful interpreter of Fauré, and Signum’s secret weapon.' Mark Valencia, Classical Source, August 2016

Anna Netrebko

Metropolitan Opera

"...Mr. Martineau played beautifully throughout the program, bringing refinement yet appropriate fervor to the music." Anthony Tommasini, New York Times, 29 February 2016
"Martineau... played with a silvery agility all afternoon. He responded to Netrebko with exciting immediacy and offered ideas back to her in a stimulating collaboration. Their light touch together on Rimsky-Korsakov’s “To the realm of roses and wine” was in contrast to the album and exemplary of the beauty of the concert..." George Grella, New York Classical Review, 29 February 2016

Sarah Connolly

Queen's Hall, Edinburgh

"The still serenity of Connolly's enveloping tone with sparkling accompaniment like twinkling stars from Martineau was exquisite in Erwartung (Waiting)." Carol Main, The Scotsman, 18 August 2015
"Together thier soft-hewn, intricate, supremely conversational detail was captivating.... Martineau a flawless scene setter." Kate Molleson, The Herald, 18 August 2015


Christiane Karg; Arcangelo

In Mozart's ravishing Ch'io scordi mi te, Karg complements the delicate tones of Malcolm Martineau's fortepiano in an unusually intimate performance... Richard Wigmore, Gramophone, July 2015

Mahler/Schoenberg CD

Onyx Classics

“…the heartfelt performance by Anne Schwanewilms and meltingly beautiful accompaniment by Malcolm Martineau – just listen to that carefree song in the piano on Wenn dein Muetterlein   - make this compelling listening…” Claudia Pritchard, Independent, 31 May 2015
 Malcolm Martineau provides piano accompaniment of a variety and intimacy that suits the songs perfectly, perhaps more so than the usual orchestral version. Fiona Maddocks, The Observer, 26th July 2015


Dorothea Röschmann; Sony

Röschmann’s pianist, Martineau, is exceptional — almost the most beautiful passage on the disc is the postlude to Morgen. Astonishingly, this is the singer’s first disc of Lieder since her 2002 joint Schumann album with Ian Bostridge. Now she is at the height of her powers, vocally. Her rich, silver-flecked soprano brings a rare expressive and passionate intensity to Schubert’s famed Gretchen am Spinnrade and to Wolf’s Mignon singing Kennst Du das Land? (Do you know the land where the lemon-tree blossoms?)
Hugh Canning, The Sunday Times, 25th January 2015

Schubert: Schwanengesang

Florian Boesch; Onyx

Martineau’s playing could hardly be bettered. Hugh Canning, The Sunday Times, 16th November 2014

No Exceptions No Exemptions

Robin Tritschler; Signum Classics

Armed with the sensitive Malcolm Martineau as his accompanist... Geoff Brown, The Times, 13th November 2014
The gifted tenor Robin Tritschler's singing is nuanced sensitively, while the pianist Malcolm Martineau is, as always, an astute partner. Stephen Pettitt, The Sunday Times

Recital with Elina Garanca

Barbican Centre

Garanča, accompanied everywhere with huge flair and sensitivity by Malcolm Martineau, found a fierce sensuousness within her mezzo — though in Leises Lied and All mein’ Gedanken a new translucency and weightlessness too. Hilary Finch, The Times, 23rd October 2014

Recital with Sir Thomas Allen

Wigmore Hall

Yet there was never really any doubt that Allen’s art, beautifully supported by pianist Malcolm Martineau, would in the end conquer nature...Allen’s wit and pointedness, as well as his sheer stage presence, came to the fore in Ravel’s richly quirky animal settings, Histoires Naturelles, with Martineau again excellent in the lustrous piano part. Martin Kettle, The Guardian, 10th September 2014

Heimlische Aufförderung

Christiane Karg; Berlin Classics

The enraptured unfurling of sound in Malcolm Martineau's piano introduction creates dappled light for Christiane Karg's long, warm-breathed phrasing in Das Rosenband, a radiant start to this recital....Karg's Ophelia Songs are moving in their bleached, waif-like tones, their distracted volatility nicely recreated in the fingers of Martineau. Hilary Finch, BBC Music Magazine August 2014
This is a great disc from a wonderful singer, but is the greater for the exquisitely-sensitive pianism of Malcolm Martineau, whose dynamic shading and heart-stopping timing lie at the core of these magical performances and re-define the words "accompaniment" and "collaboration". Michael Tumelty, The Herald, 13th July 2014

Dorothea Röschmann

Wigmore Hall

After the interval came four ravishingly coloured Strauss songs, with Morgen's "speechless silence of bliss" exquisitely rendered by Malcolm Martineau in the postlude. Then came Hugo Wolf's Mignon lieder, the waves emanating from Martineau's piano alternately battering and lapping gently against the melody's dolorous contours in Kennst du das Land.

Röschmann's gorgeously tempered soprano can fill the Wigmore Hall with ease...But it was the consummate artistry of both singer and pianist that made this recital such joy, and pain, to behold.
Guy Dammann, The Guardian, 11th June 2014



Wigmore Hall

Malcolm Martineau did marvels with the quasi-orchestral piano accompaniments, from the rippling arpeggios of L'Invitation to the tempestuous seascape of La Vague et la Cloche, complete with crashing waves and clanging bell. Barry Millington, Evening Standard, 24th April 2014
Songlives is the Wigmore Hall concert series dreamt up by lieder supremo Malcolm Martineau to explore a composer’s whole life, chronologically, through his output...Kudos to Martineau for a small but perfectly balanced selection, and he relished Duparc’s rich piano lines... Neil Fisher, The Times, 25th April 2014
Buoyed by Malcolm Martineau’s piano playing... Hannah Nepil, Financial Times, 24th April 2014
Hearing Duparc done on a large-ish scale is to be reminded of just how Wagnerian he is (Elégie is straight out of Tristan und Isolde), a point also emphasised by Martineau's big-boned, intensely lyrical playing. Tim Ashley, The Guardian, 24th April 2014

The complete songs of Poulenc: Vol.4


...and in this fourth volume his piano-playing continues to lend a keen and characterful edge to the various musical pictures that Poulenc creates... The rhythmic teases of the Poèmes de Ronsard are cunningly negotiated by Martineau... Geoffrey Norris, Gramophone, February 2014

Recital with Simon Keenlyside

Barbican Centre

Martineau's understated virtuosity was most obvious in the Wolf songs that opened the second half, their multiple ambiguities conveyed by both performers without any hint of preciousness or emotional artifice. There was superb pianism, too, in the Schubert and especially Brahms sequences, in which Keenlyside's concern with searching out meanings that other singers overlook was perfectly matched by insights from his keyboard partner. George Hall, The Guardian, 19th December 2013
Most important, he sings the poetry as if every word matters, whether in English or German, and with Malcolm Martineau as the subtlest of accompanists, there was plenty of light and shade among the prevailing gloom. Richard Fairman, Financial Times, 19th December 2013


Die schöne Müllerin

Florian Boesch; Onyx exceptionally vivid and dramatic account of the cycle, full of fierce anger and tenderness...thanks to the natural brightness of Boesch's voice and the sensitivity and subtlety of Malcolm Martineau's outstanding piano playing. The Sunday Times, 24th November 2013
...with Malcolm Martineau energetically complicit, Boesch presents a robust young wanderer, his voice relaxed and comfortably focused enough to leave the minutiae of emphasis and expressive nuance to Martineau's fingers. BBC Music Magazine, February 2014

As You Like It

Nicky Spence; Resonus

...Martineau give[s] equally affecting performances while communicating a real ink-still-wet-on-the-page vitality. Robert Levett, International Record Review, May 2013

Lieder for the turn of a century

Champs Hill Records

Accompanied with panache by Malcolm Martineau...a judicious mix of not-too-brash bravado and playful sensuality makes this performance just the ticket.

Richard Fairman, Gramophone, March 2013

Virgins, Vixens and Viragos


Abetted by Malcolm Martineau's richly coloured playing...Graham and Martineau catch the sensuality of the opening song without traducing the composer's request for simplicity, and perfectly judge the mix of aristocratic refinement and Monmartre cabaret languor in 'Violin'. 'Il vole' (the fiendish keyboard part brilliantly despatched by Martineau)...

Richard Wigmore, Gramophone, March 2013

Canciones espanolas

Hyperion Recording

Soprano Sylvia Schwartz's reputation as a rising star is confirmed by her Hyperion debut album, a programme of songs from her native Spain, finely accompanied by Malcolm Martineau. Tim Ashley, The Guardian, 7th February 2013

The mixture is perfect for this programme of Spanish songs, some barely a minute long, all beautifully characterised by the soprano and her accompanist Malcolm Martineau. 

Anna Picard, The Independent, 3rd March 2013
Schwartz shows a wonderful voice, warm responsiveness to the texts and perfectly idiomatic Spanish...Martineau is, as ever, the perfect collaborator Classical Music Magazine, April 2013



Faure: The Complete Songs, Vol. 1

Soprano: Lorna Anderson
Soprano: Janis Kelly
Soprano: Joan Rodgers
Mezzo-soprano: Ann Murray
Countertenor: Iestyn Davies
Tenor: Ben Johnson
Baritone: Nigel Cliffe
Baritone: John Chest
Piano: Malcolm Martineau

Catalogue No: SIGCD427


Concert arias by Mozart, Beethoven, Haydn and Mendelssohn.

Christiane Karg, soprano
Malcolm Martineau, hammerflügel
Jonathan Cohen, director
Berlin Classics


Songs by Schubert, Schumann, Strauss and Wolf
Dorothea Röschmann (soprano), Malcolm Martineau (piano)

Catalogue No: 88883785852


Heimliche Aufförderung

Christiane Karg, soprano
Malcolm Martineau, piano

Richard STRAUSS: Lieder

Original Release Date: 14 Mar 2014
Label: Berlin Classics
Copyright: 2014 Edel Germany GmbH
Total Length: 1:12:13