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  25 Feb 20 Recital, Florian Boesch
  Frankfurt Opera

  “Am Klavier unterstützte ihn der schottische Pianist Malcom Martineau, der an der Oper schon viele große Sängerinnen und Sänger begleitet hat. Martineau bewusst zurückhaltendes Spiel passte sich Boeschs Gesangsinterpretation äußerst ausgeglichen und harmonisch an.”

  Markus Gründig, Kulturfreak, 27 February 2020

   

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  04 Feb 20 Recital, Susan Graham
  New York

  “Martineau’s handling of the accompaniment exuded easy charm.”

  “Martineau’s playing glowed.”

  Eric C. Simpson, New York Classical Review, 5 February 2020

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  15 Jan 20 Recital, Michael Schade
  Wiener Staatsoper

  “Gerade  bei diesen „impressionistischen Werken“ zeigt sich das  große Können von Malcolm Martineau am Klavier.”

  Christoph Karner, Online Merker, 16 January 2020

   

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  02 Jan 20 Recital, Simon Keenlyside
  Wigmore Hall

  “[…] the quick thinking of Malcolm Martineau, his impeccably responsive accompanist.”

  Barry Millington, Go London, 3 January 2020

  “Accompanist Malcolm Martineau was also in his element, getting Britten’s young chimney-sweep to dance on his way with irresistible charm.”

  Richard Fairman, Finacial Times, 6 January 2020

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  14 Aug 19 Recital, Amber Wagner
  Edinburgh International Festival

  “Martineau, whose sole Edinburgh appearance this seems to be this year, was a wonderful counterpoint to this, with his delicacy and poise, especially at the end of songs.”

  Keith Bruce, The Herald, 14 August 2019

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  15 Jul 19 Recital, Anna Netrebko
  Baden-Baden Festspielhaus

  “Malcolm Martineau (Klavier) begleitete sie dabei mit lyrischer Emphase und ausgesprochen sensiblem Anschlag.”

  “Malcolm Martineau besaß dabei als Liedbegleiter immer die richtigen Impulse und ein genaues Gespür für dynamische Veränderungen.”

  Alexander Walther, Online Merker, 15 July 2019

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  12 Jul 19 Recital, Bryn Terfel
  Munich

  “Dazu braucht man einen Klavierbegleiter wie Malcolm Martineau, der einerseits in selbstsicherer Distanz und Eigenständigkeit bleibt und sich andererseits nicht zum Konkurrenten aufspielt.”

  Helmut Mauro, Süddeutsche Zeitung, 12 July 2019

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  04 Apr 19 SCHUBERT Recital, Michael Schade
  Vienna

  “Schades kongenialer Klavierpartner Malcolm Martineau trug die Präsentation des Tenors voll mit und gestaltete seinen Part mit szenischer Farbigkeit und zwingender Präsenz.”

  Marion Eigl, Wiener Zeitung, 3 April 2019
  

  “Malcolm Martineau präsentierte sich einmal mehr als verlässlicher Partner, wobei er diesmal auch sein Gefühl für das Dramatische auskostete, da Schubert ja die „Begleitung“ über das bis dahin übliche Maß aufwertet. Dem großen Formenreichtum dieses inneren Dramas des verliebten Handwerksburschen wurden Martineau und Schade mit einer großen Palette an Ausdrucksmitteln gerecht, von zart bis innerlich bebend – jedoch nie auf Kosten einer melodiösen Linienführung.”
  Theresa Steininger, Die Presse, 3 April 2019

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  02 Dec 18 Recital, Anna Netrebko
  Lyric Opera of Chicago

  “One of the leading accompanists of his generation, esteemed Scottish pianist Malcolm Martineau, accompanied Anna. His unique talent to make piano and the human voice sound like one living organism sparkled the Lyric’s stage and added special color to Anna’s voice, which was shining with rich texture and extreme depth. Martineau has performed with top world-renowned singers throughout Europe, North America, the Far East and Australasia. His participation in Netrebko’s recital at Lyric Opera of Chicago became another gem in the colorful palette of his outstanding musical career.”
  Natalia Dagenhart, Daily Herald, 4 December 2018

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  08 Nov 18 Recital, Thomas Oliemans
  Walter Hall Toronto

  “He was supported in no small way by the magnificent — but never overstated — pianism of that master of collaborative piano, Malcolm Martineau. This recital won’t be easy to top in the rest of the WMCT season.”
  Joseph So, Ludwig van Toronto, 12 November 2018

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  25 Mar 18 Recital, Susan Graham
  Washington University, St. Louis

  “Martineau is the consummate musical partner, supporting and assisting while playing flawlessly. It’s no mystery that he’s sought after by so many of the world’s great singers.”
  Sarah Bryan Miller, St. Louis Today, 26 March 2018

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  13 Feb 18 Recital, Dorothea Röschmann
  Carnegie Hall, New York

  “The familiar “Kennst du das Land” was magnificent in every way, expressive of the poem’s varying moods, with delicious lower notes and the words so clear and finely-coloured; and Mr. Martineau here was divine… Mr. Martineau beautifully sustained the poetry with his transportive playing of the postlude. ”
  Oberon’s Grove, 14 February 2018

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  08 Feb 18 Recital, Dorothea Röschmann
  Vocal Arts, Washington

  “The fluttering notes in the breathless “Dahin” sections of “Kennst du das Land” were a particular highlight from Martineau at the piano, as were the endless gradations of soft sound in the introduction to the standalone song “Nachtstück.”
  Charles T. Downey, Washington Classical Review, 9 February 2018

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  16 Jan 18 Recital, Dorothea Röschmann
  Royal Conservatoire of Scotland, Glasgow

  “Franz Schubert’s settings of his verse, followed by Nachtstuck, setting Johann Mayrhofer, saw her in full expressive mode from the beginning, with Martineau, as always, the most observant of partners. In the Mahler Ruckert-Lieder that followed – a distinctly different dramatic approach seemingly agreed in their minute off-stage – the poise in his playing, and in the transition between songs, was the perfect accompaniment to her incredible instrument and her remarkable fluctuation in dynamics between syllables of the same word.”
  Keith Bruce, Herald Scotland, 17 January 2018

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  27 Oct 17 MENDELSSOHN Complete Songs, Vol. 3: Fanny Hensel, 'The Other Mendelssohn'
  

  “Her songbook, delivered here by four international singers and the pianist Malcolm Martineau, draws on Schiller, Goethe, Lenau, Klopstock and Heine – whom Fanny ardently disliked. Her musical style has more in common with the young Schumann than it does with her brother. The heart is worn recklessly on her sleeve; the words fit the music like a kid glove. Clearly intended for home use, the songs were never designed to be heard end to end, but there are many high points, notably the Wanderers Nachtlied, which hints at untapped depths of loneliness. Her style betrays no hint of deference or insecurity. Fanny Hensel is a mature composer, barely bothering to look over her shoulder at what her brother is up to.
  The young singers – Susana Gaspar (Portugal), Gary Griffiths (Wales), Manuel Walser (Switz.) and Kitty Whaley (England) – are almost overly enthusiastic about these excellent songs.”
  Norman Lebrecht, MyScena, 23 February 2018

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  09 Aug 17 Recital, Sir Bryn Terfel
  Usher Hall Edinburgh

  “…Terfel sang a selection of water-themed Schubert songs with consummate ease, his lilting ­melodies floating over Martineau’s quicksilver piano accompaniment.”
  Susan Nickalls, The Scotsman, 11 August 2017

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  15 May 17 Decades: A Century of Song, Vol 2, 1820-1830
  

  “It’s an intriguing look at a creative tradition that dominated the salon music of the 19th century … Martineau’s empathetic pianism is the steadying omnipresence.”
  Fiona Shepperd, Scotsman, 15 May 2017
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  05 May 17 FAURE Complete songs collection Vol 2
  

  “Fauré’s elusive mix of fragility and strength always shines through, with Malcolm Martineau ever an authoritative, agile and responsive pianist.”
  Fiona Maddocks, The Observer, 7 May 2017

  “…Fauré’s elusive mix of fragility and strength always shines through, with Malcolm Martineau ever an authoritative, agile and responsive pianist.”
  Fiona Maddocks, The Guardian, 7 May 2017

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  23 Apr 17 Recital, Susan Graham
  Shriver Hall, Baltimore

  “The mezzo-soprano’s local debut featured the ingenious, revelatory “Frauenliebe und -leben: Variations” program that she and first-rate pianist Malcolm Martineau put together a few years ago, a program that has understandably earned them plaudits.

  Throughout, Martineau provided invaluable partnering. He produced an orchestra’s worth of tonal textures, a poet’s range of temperament and nuance.

  The several keyboard codas along the way gave him an extra opportunity to reveal his artistic sensibilities, as in the tolling bell-like conclusion of that Granados lament.

  The extended piano solo that ends Schumann’s cycle — repeating the music from the beginning, as if to say this woman’s life might have another chapter — was phrased by Martineau with particular incisiveness.”
  Tim Smith, Baltimore Sun, 26 April 2017

   

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  19 Apr 17 Recital, Anne Schwanewilms
  Theater of the Arts, Washington DC

  “Her partner, pianist Malcolm Martineau, set the stage admirably, for example, in the lilting triplet motif in “Traum durch die Dämmerung” and other delicate textures at the keyboard.

  Schwanewilms consistently produced a placid and controlled sound, animated by a caressing of the poetry in her diction, married to the judicious touch of Martineau at the piano.”
  Charles T. Downey, Washington Classical Review, 21 April 2017

  “Her unfailingly elegant and insightful pianist Malcolm Martineau proved a sterling partner all evening.”
  Washington Post, 21 April 2017

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  19 Mar 17 Recital, Miah Persson
  US Tour

  “Mr. Martineau played sensitively, with special alertness to the dissonant elements that activate Schumann’s harmonic language.”

  Anthony Tommasini, New York Times, 23 March 2017

  “And Martineau’s ability to enchant and close each song with unspoken eloquence at the piano was quite something.”

  Stephanie Adrian, Arts ATL, 28 March 2017

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  25 Aug 16 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

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  15 Aug 16 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

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  01 Jul 16 Songs by Max Reger
  Sophie Bevan ; Hyperion

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

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  17 Jun 16 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

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  28 Feb 16 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

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  17 Aug 15 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

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  16 Jun 15 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

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  26 Jan 15 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, 25 January 2015

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  09 Jun 15 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, 26 July 2015

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  16 Nov 14 SCHUBERT Schwanengesang
  Florian Boesch; Onyx

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

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  13 Nov 14 No Exceptions No Exemptions
  Robin Tritschler; Signum Classics

  “Armed with the sensitive Malcolm Martineau as his accompanist…”
  Geoff Brown, The Times, 13 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

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  21 Oct 14 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, 23 October 2014

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  10 Sep 14 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, 10 September 2014

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  07 Jul 14 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

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  08 Jun 14 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, 11 June 2014

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  24 Apr 14 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, 24 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, 25 April 2014

  “Buoyed by Malcolm Martineau’s piano playing…”
  Hannah Nepil, Financial Times, 24 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, 24 April 2014

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  01 Feb 14 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

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  18 Dec 13 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, 19 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, 19 December 2013

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  26 Nov 13 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, 24 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

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  01 May 13 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

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  01 Mar 13 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

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  01 Mar 13 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

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  08 Feb 13 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, 7 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, 3 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