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 Alice Tully Hall, Carnegie Hall, the Kennedy Center, London’s Wigmore Hall, the Grand Hall of the Moscow Conservatory, and Warsaw’s National Philharmonic.

Andrew’s orchestral engagements across the globe have encompassed a vast repertoire of more than 60 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 Ehnes, 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 JupiterSymphony Chamber Players.

Andrew’s upcoming 2023-24 season looks especially fun: solo recitals in Glasgow, Scotland and in Norwich, England; concerts with the Barbican String Quartet in the UK & EU; violin recitals with James Ehnes at London’s Wigmore Hall and at Ann Arbor’s University of Michigan; more violin recitals with Arnaud Sussmann in Hong Kong; Chamber Music in Halifax, NS & Portland, ME; Beethoven’s Emperor Concerto with the South Carolina Philharmonic; release of Andrew’s solo album featuring Gershwin’s Rhapsody in Blue, Julia Perry, William Grant Still, and Aaron Jay Kernis; and a new recording session for the album “Home-Away-Home.”

The last two seasons have 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. And after joining James Ehnes to perform the complete Beethoven Violin Sonata cycle within Melbourne, Australia as well as a duo recital in Sydney, Andy stopped by Singapore for a solo recital.

In addition to his performance activities, Andrew serves as Artistic Director of two flourishing series in South Carolina—USC Beaufort’s Chamber Music Series and the Columbia Museum of Art’s Chamber Music on Main. In 2020, Andrew founded New Canaan Chamber Music in New Canaan, CT – he serves as Artistic Director of the thriving new series now entering its fourth season. Adding to these efforts in building communities of chamber music appreciation, Andrew will direct two concerts for Chamber Music Charleston and one for Music Worcester (MA) this 23-24 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 was released to great critical acclaim: “I have heard few pianists play [Rachmaninoff’s Second Piano Sonata], 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 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 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.

“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

“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