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

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  • INTERVIEW: Malcolm Martineau at the Edinburgh International Festival 2011


Philharmonie, Essen

Mojca Erdmann, Sopran
Malcolm Martineau, Klavier
Klaus Bertisch, Regie

MOZART: “Das Kinderspiel”, KV 598
MOZART: “Das Veilchen”, KV 476
MOZART: “Der Zauberer”, KV 472
MOZART: “Sehnsucht nach dem Frühling”, KV 596
MOZART: “An Chloë”, KV 524
MOZART: “Abendempfindung”, KV 523
MOZART: “Die Zufriedenheit”, KV 473
MOZART:  “Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte”, KV 520

Muziekgebouw aan 't IJ, Amsterdam

Christoph Prégardien, tenor
Malcolm Martineau, piano

Franz Schubert An Silvia
Franz Schubert Im Abendrot
Franz Schubert Der Einsame
Franz Schubert Fischerweise
Franz Schubert Totengräbers Heimweh
Franz Schubert Liederen (selectie) op gedichten van Johann Gabriel Seidl
Franz Schubert Negen liederen op gedichten van Ernst Schulze
en liederen van Gustav Mahler

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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




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