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Praised by critics for his passionate expression and dazzling technique, pianist Andrew Armstrong has delighted audiences across Asia, Europe, Latin America, Canada, and the United States, including performances
at New York’s major stages including Carnegie Hall, Avery Fisher Hall, Alice Tully Hall, the Kennedy Center in Washington, D.C., London’s Wigmore Hall, the Grand Hall of the Moscow Conservatory, the Rudolfinum in Prague and Warsaw’s National Philharmonic.

Andrew’s orchestral engagements across the globe have encompassed a vast repertoire of more than 55 concertos with orchestra. He has performed with such conductors as Peter Oundjian, Itzhak Perlman, Günther Herbig, Stefan Sanderling, Jean-Marie Zeitouni, and Stanislaw Skrowaczewski, and has appeared in solo recitals and in chamber music concerts with the Elias, Alexander, American, and Manhattan String Quartets, and as a member of the Caramoor Virtuosi, Boston Chamber Music Society, Seattle Chamber Music Society, and the
Jupiter Symphony Chamber Players.

The 2021-2022 season has taken Andy throughout Europe with performances in Glasgow at the Royal Conservatoire of Scotland, London at Wigmore Hall, Geneva at the Conservatoire de Musique de
Geneve and at the Dresden Music Festival. He crisscrossed Canada with concerts in Halifax, Nova Scotia at the Scotia Fest, Montreal at the Festival Musique de Chambre and Vancouver at the Vancouver Chamber Music Society. In November 2022 Andy performs the complete Beethoven Violin Sonata cycle with James Ehnes in
Melbourne, Australia.

In addition to his performance activities, Andrew serves as Artistic Director of two thriving series in South Carolina — the Columbia Museum of Art’s Chamber Music on Main and the USC Beaufort Chamber Music Series. In 2020, Andrew founded New Canaan Chamber Music in New Canaan, CT and serves as Artistic Director of the flourishing new series now entering its third season. In Wisconsin, from 2017 through 2021, Andrew was Director of the Chamber Music Institute at Wisconsin’s Green Lake Festival of Music.

Andrew’s debut solo CD featuring Rachmaninoff’s Second Piano Sonata was released to great critical acclaim: “I have heard few pianists play it, recorded or in concert, with such dazzling clarity and confidence” (American Record Guide). He followed that success with a disc on Cordelia Records of works by Chopin, Liszt, Debussy, and the world premiere recording of Lisa Bielawa’s Wait for piano & drone. He has released several award-winning recordings with his longtime recital partner James Ehnes – most recently Beethoven’s Sonatas Nos. 7 & 10, to stellar reviews. In summer of 2022, he recorded a new solo album of American Composers for release in 2023 which includes Gerwshin’s Rhapsody in Blue and Aaron Jay Kernis’ Before Sleep and Dreams.
In addition to his many concerts, his performances are heard regularly on National Public Radio, WQXR, New York City’s premier classical music station, and stations across the country.

Andrew Armstrong lives happily in Massachusetts, with his wife Esty, their three children Jack (16), Elise (11), and Gabriel (5), and their two dogs Comet & Dooker.

Albums

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Press Kit

Reviews

“… kaleidoscopic piano playing…”

“The Beethoven they revealed through their commitment to communicating the essence of the music through sublime playing scrupulously following a comprehensive understanding of the score created an unstoppable and organic narrative flow that had the audience riveted to every note. It was an emotionally complex Beethoven they revealed, full of love and rage, all in a very modern way.”

Laurence Vittes | June 18, 2019 – Montréal, Quebec

“Pianist Andrew Armstrong’s Bartók [3rd Piano Concerto] sparkled and swayed… Armstrong leaned into the almost jazzy-sounding syncopations, popping the accented rhythms with a verve and a bright tone. Soloist and orchestra were extremely well matched. The second movement, Adagio religioso, again allowed Herbig and the orchestra to show textural delicacy as Armstrong made the most of sparse, shifting chords. The amount of expression that Armstrong is able to draw out of the material is remarkable.”

Jonathan A. Neufeld | The Tennessean

“…Ehnes and Armstrong took a nuanced approach, bringing smooth, tender lyricism and bold agitation into readings of firm direction and momentum.”

“…At the keyboard, Armstrong’s phrases were pristine, each passage imbued with subtle weight…”

Aaron Keebaugh | June 29, 2018 – Rockport, MA

“Armstrong has a musical personality to match the heavyweight Russians, producing an enormous sound when necessary, but always rounded, and always fine-tuned to the needs of his duo partner in flawless synchronicity.”

David Nice | The Arts Desk

“The freshness and spontaneity of these interpretations is unfaltering, as is the instantaneous rapport and subtle, crystal-clear tonal beauty of the pair’s playing. They lean into the Andante of No 1 in a way that allows both grace and a lilting sense of momentum, and launch Op 12 No 2 as if in medias res: with a dancing scherzo-like swing in which Armstrong’s left hand manages to provide both a rhythmic springboard for his partner’s phrasing and a frequently droll punchline to Beethoven’s youthful witticisms. These are, after all, ‘Sonatas for Pianoforte and Violin’ – a paradox that I’ve rarely heard so masterfully resolved on modern instruments. These players are simply on the same page as each other. The slow movements of Nos 2 and 3 are simultaneously intimate and pregnant with a sense of greater things; and the central tempest of No 3’s first movement is handled without any loss either of tension or clarity. The variations on ‘Se vuol ballare’, deliciously played, make an irresistibly playful encore to a disc which should give all but the most humourless of listeners consistent and unqualified delight.”

Harriet Smith | Gramophone