Malcolm Martineau

Introduction

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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Schedule

Alte Oper Frankfurt, FRANKFURT

DEBUSSY Syrinx (Clara Andrada de la Calle, Flöte)
DEBUSSY Chansons de Bilitis
RAVEL 3 Poèmes de Stéphane Mallarmé
DELAGE 4 poèmes hindous

* Interval *
DEBUSSY Prélude à l'après-midi d'un faune (Bearbeitung für Flöte und Klavier)
WEBERN 5 Lieder nach Gedichten von Richard Dehmel:
Ideale Landschaft
Nächtliche Scheu
Am Ufer
Himmelfahrt
Helle Nacht

WAGNER Wesendonk-Lieder WWV 91

SOPRANO: CHRISTIANE KARG
PIANO: MALCOLM MARTINEAU

Flute: Clara Andrada de la Calle Flöte
Piano: Sophie Patey
Flute: Thaddeus Watson
Clarinet: Jochen Tschabrun
Clarinet: Sven van der Kuip
Oboe: José Luis Garcia Vegara
Harp: Bettina Linck
Hába Quartett

Perelman Recital Theater, PHILADELPHIA

DVORAK Vier Lieder, Op. 2
WOLF Selection from Morike Lieder
---
STRAUSS Songs of Ophelia from Hamlet, Op.67
FAURE 3 songs op.23
1.Les berceaux
2. Notre amour
3.Le secret
SCHOENBERG Brettllieder (Cabaret songs)

MAGDALENA KOZENA
MALCOM MARTINEAU

Spivey Hall, ATLANTA

DVORAK Vier Lieder op. 2 (1881-1882 ?)
WOLF
Begegnung (Mörike-Lieder Nr. 8) (1888)
Neue Liebe (Mörike-Lieder Nr. 30) (1888)
Das verlassene Mägdlein (Mörike-Lieder Nr. 7) (1888)
Elfenlied (Mörike-Lieder Nr. 16) (1888)
Wo find' ich Trost? (Mörike-Lieder Nr. 31) (1888)
Auf ein altes Bild (Mörike-Lieder Nr. 23) (1888)
Nixe Binsefuß (Mörike-Lieder Nr. 45) (1888)
Abschied (Mörike-Lieder Nr. 53) (1888)
* Interval *
STRAUSS
Wie erkenn ich mein Treulieb? op. 67/1 (Sechs Lieder) (1918)
Guten Morgen, 's ist Valentinstag op. 67/2 (Sechs Lieder) (1918)
Sie trugen ihn auf der Bahre bloß op. 67/3 (Sechs Lieder) (1918)
FAURE
Les berceaux op. 23/1 (1879)
Notre amour op. 23/2 (1879 ca.)
Le secret op. 23/3 (1880-1881)
SCHONBERG Brettl-Lieder (Auswahl) (1901)

MEZZO SOPRANO: MAGDALENA KOZENA
PIANO: MALCOLM MARTINEAU

Wigmore Hall, LONDON

SCHUBERT Heiss mich nicht reden D877/2
So last mich scheinen D877/3
Nur wer die Sehnsucht kennt D877/4
Kennst du das Land D321

MAHLER Rückert Lieder:

Blicke mir nicht in die Lieder
Ich atmet’ einen linden Duft
Um Mitternacht
Liebst du um Schönheit
Ich bin der Welt abhanden gekommen

*** Interval ***

SCHUBERT Der König von Thule D367
Gretchen am Spinnrade D118
Gretchens Bitte D564

WAGNER Wesendonck Lieder:
Der Engel
Stehe still!
Im Treibhaus
Schmerzen
Träume

SOPRANO: DOROTHEA ROSCHMANN
PIANO: MALCOLM MARTINEAU

Wigmore Hall, LONDON

INFANCY

BRITTEN A Charm of Lullabies
A Cradle Song
The Nurse's Song

WARLOCK My sweet little darling
SCHUBERT Wiegenlied D498


CHILDHOOD

IVES The Children's Hour

SCHUMANN Lieder-Album für die Jugend Op. 79
Marienwürmchen

POULENC La courte Paille
No. 4 Ba, be, bi, bo, bu
No. 5 Les anges musiciens
No. 6 La carafon
No. 7 Lune d'avril


THE LOVER

SCHUBERT Licht und Liebe D352

LISZT Tre sonetti di Petrarca S270/1
Pace non trovo (Sonnet no.104)
Benedetto sia'l giorno (Sonnet no.47)

QUILTER Five Shakespeare Songs (set 2) Op. 23
It was a lover and his lass

BRITTEN
The Foggy, Foggy Dew
Soldier, won't you marry me?


* Interval *


THE SOLDIER

SCHUBERT Schwanengesang D957
Kriegers Ahnung

SCHUMANN Der Soldat Op. 40 No. 3

WOLF
Der Soldat I
Der Soldat II

FAURE Les berceaux Op. 23 No. 1

POULENC Bleuet

BARBER I hear an army Op. 10 No. 3



THE JUSTICE

LEHMANN Nonsense Songs from 'Alice in Wonderland'
Fury said to a Mouse

BOLCOM 12 Cabaret Songs
Amor

SULLIVAN Trial by Jury
When I, Good Friends, Was Called to the Bar



OLD AGE


BRAHMS
O wüsst ich doch den Weg zurück Op. 63 No. 8
Alte Liebe Op. 72 No. 1

BARBER The Secrets of the Old Op. 13 No. 2

COPLAND 12 poems of Emily Dickinson
Going to heaven!



OBLIVION/SECOND INFANCY

SCHUBERT
Nachtstück D672
Des Tages Weihe D763 'Schicksalslenker

Soprano: Kiandra Howarth
Mezzo-soprano: Kathryn Rudge
Tenor: David Butt Philip
BARITONE: BENJAMIN APPL
BARITONE: SIR THOMAS ALLEN
BASS: Andrew Foster-Williams
PIANO: JAMES BAILLIEU
PIANO: MALCOLM MARTINEAU
Piano: James Sherlock

Liceu Barcelona, BARCELONA

GLAZUNOV Oriental Romance

RACHMANINOV On the death of a linnet
The Waterlily
As fair as day in blaze of noon

TCHAIKOVSKY Don Juan’s Serenade

DUPARC Chanson triste
Le Manoir de Rosemonde
Phidylé

POULENC Les Chansons gaillardes
La Maîtresse volage
Chanson à boire
Madrigal
Invocation aux Parques
L'Offrande
Sérénade
La Belle Jeunesse

*Interval*

STRAUSS Waldesfahrt Op.69
Nichts
Junggesellenschwur
Waldseligkeit

SCHUBERT Alinde
Geheimes
An der Mond in einer Herbstnacht
Der Wanderer an den Mond
Die Sterne
Abschied (verses 1, 2, 3 & 6)

BARITONE: SIMON KEENLYSIDE
PIANO: MALCOLM MARTINEAU

Wigmore Hall, LONDON

Richard Strauss: Traum durch die Dämmerung op.29 No.1; Nachtgang op.29 No.3

Richard Strauss: Du meines Herzens Krönelein op.21 No.2; Ach Lieb, ich muss nun scheiden op. 21 No.3

Hugo Wolf: Das verlassene Mägdlein; Wo find ich Trost; Der Genesene an die Hoffnung

Richard Strauss: In goldener Fülle op.49 No.2; Wer lieben will, muss leiden op.49 No.7; Ach was Kummer,Qual und Schmerzen op.49 No.8

***Pause***

Richard Strauss: Blauer Sommer op.31 No.1; Weisser Jasmin op.31 No.3; Das Rosenband op.36 No.1

Richard Strauss: Drei Lieder der Ophelia
Wie erkenn ich mein Treulieb vor andern nun op.67 No1; Guten Morgen ess ist St.Valentinstag op.67 No. 2; Sie trugen ihn auf der Bahre bloss op.67 No.3

Hugo Wolf: Hier lieg ich auf dem Frühlingshügel; Gesang Wellas: Du bist Orplid, mein Land; Verborgenheit: Lass, o Welt, o lass mich sein

Richard Strauss: Die Nacht op.10 No.3; Geduld op. 10 No.5

SOPRANO: ANNE SCHWANEWILMS
PIANO: MALCOLM MARTINEAU

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Press

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

Scene!

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

Portraits

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

Duparc

Songlives

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

Signum

...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

Schubert

Die schöne Müllerin

Florian Boesch; Onyx

...an 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

Onyx

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

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Recordings

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
Hyperion

Scene!

Concert arias by Mozart, Beethoven, Haydn and Mendelssohn.

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

Portraits

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

Catalogue No: 88883785852

Sony

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
ASIN: B00IIZVNTQ
BR-KLASSIK