“Unlike many virtuosos, Haefliger is a musician first and pianist second... Andreas Haefliger is a pianist to watch. More importantly, he is a pianist to listen to.”
Chicago Tribune

Andreas Haefliger was born into a distinguished Swiss musical family and grew up in Germany, going on to study at the Juilliard School in New York. With his formidable technique and musicality, and his innate sense of architecture and phrasing, he was quickly recognised as a pianist of the first rank. Engagements with major US orchestras followed swiftly – the New York Philharmonic, Cleveland Orchestra, Los Angeles Philharmonic, Boston Symphony, Pittsburgh, Chicago and the San Francisco Symphony Orchestras among them. In his native Europe too, Haefliger was invited to the great orchestras and festivals – such as the Royal Concertgebouw, Rotterdam Philharmonic, Munich Philharmonic, Budapest Festival Orchestra, Deutsche Symphonie Orchester Berlin, Orchestre de Paris, London Symphony Orchestra and Vienna Symphony. He also established himself as a superb recitalist, making his New York debut in 1988, and became frequent performer at premier recital venues and festivals around the world, notably the Lucerne and Salzburg Festivals, the BBC Proms and the Wiener Festwochen.

Concerto highlights in 10/11 have included Bartok 3 with the Philadelphia Orchestra and Jonathan Nott; Chopin 2 with the Toronto Symphony and Music Director Peter Oundjian (touring to Montreal and Ottawa); Mozart with the London Philharmonic and Guenter Herbig at the Royal Festival Hall and with the Tonkuenstlerorchester in Vienna’s Musikverein. In 2012 his plans include Beethoven 4 with the Philharmonia and Christoph von Dohnanyi, Brahms 1 with the Royal Liverpool Philharmonic and Petrenko, and a return to the Sydney Symphony with David Zinman.

The focus of Haefliger’s solo recital appearances in recent years has been an ongoing series Perspectives on Beethoven in which he performs the complete piano works of Beethoven alongside works by other composers including Mozart, Schubert, Bartók, Brahms, Janáček, Schoenberg and Ligeti. The recital programmes have all been recorded for the Avie label, to widespread critical acclaim. In 2011 he played Liszt: Annees de Pelerinage Suisse coupled with late Schubert at the Lille Piano Festival, and at venues such as the Wigmore Hall, Rudolfinum Prague and Luzern Piano Series in the Autumn. He also appears with the Takacs Quartet at the Mostly Mozart Festival and with Gil Shaham in La Jolla, and in Spring 2012 at the Wigmore with the Tokyo Quartet.

After the enormous success of his first recording of Mozart Sonatas for Sony Classical, Haefliger made three further recordings for Sony of Schumann’s Davidsbündlertanze and Fantasiestücke, Schubert Impromptus, and a disc of music by Sofia Gubaidulina. Later Haefliger recorded for Decca with the Takacs Quartet and Matthias Goerne, the latest Goerne/Haefliger release of Schubert’s Goethe Lieder being awarded a Preis Der Deutschen Schallplattenkritik.

Andreas Haefliger is represented by Intermusica.

September 2011 / 457 words. Not to be altered without permission. Please destroy all previous biographical material.

Sample Concerto Repertoire

Conductor Relationships

Donald Runnicles, James Conlon, Osmo Vänska, Andreas Delfs, Hans Graf, Jan Pascal Tortelier, Mark Elder, Matthias Bamert, Richard Hickox, Heinrich Schiff, Claus Peter Flor, Ingo Metzmacher, Thierry Fischer, Gerard Schwarz, Martyn Brabbins, Christian Thielemann, Hugh Wolff, Paavo Berglund, Leonard Slatkin, Roberto Abbado

Sample Recital Programmes

Autumn 2011

LISZT Années de Pelerinage Suisse
*****
SCHUBERT Sonata No.18 in G major, D.894

Encores:
DEBUSSY Feux d'artifice
DEBUSSY Cathédrale engloutie

Spring 2012

LISZT Années de Pelerinage Suisse

Chapelle de Guillaume Tell
Le Mal du Pays
Vallee d'Obermann
Les cloches de geneve
*****
BEETHOVEN Op.106

2012-13 Recital Programmes (in collaboration with Markus Werba)

The lyric element in Beethoven and Schumann
Unobtainable love is the common thread in these two programmes.

It inspires Beethoven to create some of his most lyrical and noble music, taking us from joyful ecstasy to the depths of despair. Another of the greatest composers of piano music, Schumann, turns to the Lied as a way of expressing such intensity of feeling. Berio’s atmospheric music of the elements, Schubert’s probing Harfner songs and Wolf’s desperate Michelangelo-lieder plunge us even further into a sensual and spiritual exploration of unrequited love.

“The ultimate praise of Haefliger’s technical equipment might be that one is simply never aware of it; one hears only beautiful, fluent music-making, unimpeded by the physical. It seems to me that, among the more interesting contemporary pianists assaying the Viennese classical canon, Andreas Haefliger is in a class all his own.”

Evening 1: piano recital - Andreas Haefliger
BEETVHOEN Sonata Op.14 No.2 in G
BERIO Erdenklavier, Wasserklavier
BEETHOVEN Sonata Op.109
*****
BERIO Luftklavier, Feuerklavier
SCHUMANN Fantasie

Afternoon day 2: – talk given by ANDREAS HAEFLIGER

Evening 2: song recital - baritone Markus Werba, pianist Andreas Haefliger
BEETHOVEN An die ferne Geliebte
SCHUBERT Gesänge des Harfners, Op.12 Nos.1, 2, 3
*****
WOLF Michelangelo Lieder: Wohl denk' ich oft, Alles endet, was entsteht, Fühlt meine Seele
SCHUMANN Dichterliebe

OR single combined programmme:

BEETHOVEN An die ferne geliebte
SCHUMANN Fantasie
*****
SCHUMANN Dichterliebe

www.andreashaefliger.com

www.askonasholt.co.uk/artists/singers/baritone-bass-baritone/markus-werba

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Perspectives 5 / Beethoven, Liszt
“Beethoven’s Hammerklavier Sonata and Liszt’s Années de Pèlerinage: Suisse make a potent brew when juxtaposed, and the pianist does them superbly. Liszt’s dramatic landscape evocations are characterised with a wide variety of textures, while the contours of Beethoven’s piano masterpiece are delineated with wonderful authority.”
The Independent, Album of the week, November 2011

“The refinement of Haefliger’s sound is striking...the subtlety of Haefliger’s palette serves him well.”
BBC Music Magazine, November 2011

Prague Recital / Schubert, Liszt, Beethoven
“Haefliger brought his vibrant energy and intellectual understanding of the music to the fore, for what was a powerfully emotive performance.”
Prague Post, December 2011

Wigmore Hall Recital / Liszt Les Annees de Pelerinage Suisse
“His sound in La chapelle de Guillaume Tell was luxuriantly rich, his pace leisurely in the extreme, with the lapidary grandeur of the music suggesting vast landscapes; he himself had a rock-like presence... Orage (storm) was as tempestuous as one could wish, with the madly whirling octaves and arpeggios suggesting roaring winds and waters: this was a reminder that in Liszt's time the fire and thunder of a piano recital had to provide all the thrills IMAX screens do today.”
The Independent, November

Philadelphia Recital / Schubert, Mozart & Liszt
“Andreas Haefliger is a master manipulator of time. Listeners, entranced by his phrasing, might not have noticed Thursday night that he slowed the music by nearly half at the end of the exposition in the first movement of Schubert's Piano Sonata in B-flat major (D. 960). Mozart and Liszt got similar treatment at his Philadelphia Chamber Music Society recital at the Kimmel. The German-born pianist wants you to believe that what music has to say can be more divorced from regulated tempos than typically heard....

The repertoire made a point; to various degrees, pieces referenced one another. Schubert's D. 960 is embedded with the kinds of thunder and full-stop slivers of silence that wouldn't become commonplace until much later, yet it ends with the Mozartean (or even Haydn-esque) device of trying out snippets of the melody in different keys. Mozart's Adagio in B minor (K. 540) seemed in itself unmoored from time - strangely forward-looking and, for bars at a time, un-Mozartean. Liszt's Isoldens Liebestod: Schlußszene aus Tristan und Isolde is all about time - the prolongation of it. The pianist stretched it so expansively in the beginning that it resembled a canvas growing ever more diaphanous and dangerously close to rupture.

Haefliger made no break in the music between the K. 540 Adagio and Le Mal du Pays and Vallée d'Obermann from Liszt's Années de Pèlerinage, Première Année: Suisse. The musical parlance for this is attacca. The intellectual point is to emphasize the connection, in this case the floating quality they share and the extent to which both composers were entering new territory. The Liszt testified to a pianist of nearly terrifying technique.”
Philadelphia Enquirer, March 2011

Philadelphia Orchestra / Jonathan Nott / Bartok Concerto No.3
“Pianist Andreas Haefliger was an effervescent and commanding presence. He had a ringing clarity, and, playing the Kimmel Center's new Steinway, was about as far from percussive as possible. “
Philadelphia Enquirer, January 2011

London Philharmonic Orchestra, Royal Festival Hall / Herbig
“… Andreas Haefliger who made a modern concert grand not sound like an intruder into Mozart’s world. This was a chamber-music performance, so often were the textures and playing of a very delicate and intimate nature. Of course K503 is a big work, the orchestration includes both trumpets and drums, and the piano has some impressive, and demonstrative, music, but both soloist and conductor allowed the music to unfold in its own time, and in its own way, thus the first movement was impressive but never overwhelming. The slow movement was a delight of peace and calm and the finale was full of high jinks.”
Classical Source, November 2010

Toronto Symphony Orchestra / Chopin
“…wherever he plays he's recognized as one of today's preeminent practitioners of his instrument…

Thursday's performance was well beyond the ordinary...Haefliger’s sense of the score's form and his superb cantabile really hit the spot. The orchestra played well too, but its role is merely one of accompaniment. This is really a pianist's concerto and, happily, just the right pianist was on hand.”
Ottawa Citizen, November 2010

Tanglewood with Matthias Goerne
"After intermission Haefliger played the Brahms Intermezzi, Op. 117. Throughout the evening he appeared quiet and meditative but played with rich colors and powerful momentum. He voiced the lullaby of the first intermezzo with gentle lyricism and the second, in B-flat minor, with delicate tracery and tasty balances. The final intermezzo was deliberate, but danced and swayed through the five-bar phrases that shaped it."
The Boston Globe, August 2010

International Piano Series, Queen Elizabeth Hall, London / Mozart, Liszt & Schubert
“Haefliger has an invigorating way of combining steely control with just a touch of impatience, seizing the beat almost before it arrives. There were other ways he softened the arithmetical rigidity of Mozart’s neat balanced phrases. The minuet of the famous A major Sonata had a lovely flexibility, so that it “spoke” as well as danced.

In between the Mozart sonatas came Liszt’s arrangement of the Liebestod (“Love Death”) from Wagner’s Tristan and Isolde. Here there was unending melody in plenty, buoyed aloft on great surges of pedalled harmony and tumultuous right-hand tremolandos. Liszt’s pianistic recreation of Wagner’s orchestral richness is an act of genius in its own right, and Haefliger’s performance gave it a lovely, ecstatic intimacy – a dream of Tristan, rather than the reality, fading away on a radiant chord that Haefliger seemed to hold for ever.

As an encore, he played a piece which, as he put it, “encapsulates everything we’d just heard”. This was Mozart’s astounding B minor Adagio. It combines classical balance and poise with romantic anguish, and in Haefliger’s performance the combination took on a heart-breaking eloquence.”
The Telegraph, May 2010

Mozart with with Orchestre Philharmonique de Strasbourg / Claus Peter Flor
“The soloist, Andreas Haefliger, understands how to resist the temptation of many pianists to ingratiate themselves with the public by overwhelming them with technical brilliance. He was much more concerned with the greater artistic picture…His brilliance lay in his subtle feeling for shading, without the need for exaggeration…One could almost grasp hold of the humanity in this interpretation - something which these days has almost disappeared from the stage, but which Haefliger illuminated as though from another dimension.”
Michaela Preiner, European Cultural News, February 2010

"Haefliger puts his fabulous technique purely at the service of the most intimate musical expression.
In collaboration with the orchestra he gave a wonderful interpretation of all three movements, and the virtuosic, searching cadenzas emphasised this overall impression. Enthusiastic applause was met with an encore which, again, was deeply sensitive. “
Badene Neueste Nachrichten, February 2010

"soloist Andreas Haefliger knew how to find the essence of the music, but also lent his own specialinspiration to the middle Andante movement. And in the Adagio which he played as an encore, he communicated this more tortured music from Mozart's later works, playing it with the same beautiful musicality.”
Dernières Nouvelles d'Alsace, February 2010

Beethoven, Brahms and Janáček / “Perspectives 4” (Avie)
"He shapes the Janacek Sonata's brooding paragraphs in broad arcs, massive textures and with ample yet never excessive use of the sustain pedal…Following a spacious, lovingly inflected account of the first movement [of Beethoven’s Waldstein sonata], Haefliger shifts gears, playing up the Allegro vivace's syncopated accents and wacky major/minor shifts for all they're worth. However, it's the gnarly, quasi-orchestral scope of Brahms's early F sharp minor Sonata that fuels Haefliger's most engaging, consistent work here. The outer movements' ungrateful octaves and fistfuls of chords flow like oil, while Haefliger's nuanced, cultivated touch brings a three-dimensional quality to the slow movement's sad lyricism, to say nothing of his focused rhythmic control in the Scherzo. In all, this assured and committed performance is worthy to stand alongside Arrau, Richter, Ax, Katchen, the young Hélène Grimaud and the underrated Peter Rösel.”
Gramophone, July 2010

In the Janáček Haefliger not only conveys the personal grief that underlines the music, but also its boldness and modernism – features which in many respects can be linked to the innovations that colour Beethoven’s middle period. Likewise, although his approach to the first and third movements of the Waldstein is suitably strong and propulsive, Haefliger imbues the slow movement with an unexpected sense of melancholy, suggesting a parallel sense of loss to that which inspired Janáček…

In Op. 78 the crystal-clear recording serves to emphasize the beautifully veiled and delicate timbre which Haefliger achives in the rushing semiquaver passages…But perhaps the most striking playing of all comes in the Brahms where Haefliger delivers an interpretation of formidable granitic strength that nonetheless manages to encapsulate the work’s more introspective and poetic aspects.”
BBC Music Magazine, Disc of the Month, Christmas 2009 issue

“Very few of Haefliger’s colleagues approach his attainments as a Beethoven player. His scrupulous observance of every indication in the score seems an article of faith, without impugning spontaneity or narrative flow. He internalizes the stylistic idiosyncrasies of each piece so thoroughly that Beethoven’s most unorthodox figurations, harmonic progressions and expressive strategies sound not only completely natural, but inevitable.

Without losing sight of the elegiac thrust of this heartfelt threnody, Haefliger plumbs the richly atmospheric textures of Janáček’s mature piano style.

These deeply affecting and intellectually stimulating performances will only enhance Andreas Haefliger’s reputation as one of the most refined, thoughtful and probative pianists before the public today. Very highly recommended.”
International Record Review, January 2010

Schubert Winterreise / Wolfgang Holzmair
“The understated gentleness of Haefliger’s accompaniment in which he dared to do less to spectacular effect was heightened and highlighted by the occasional emphatic outbursts of Die Post and Der Sturmische Morgen…with the ever-present support of Haefliger [Holzmair] produced a rendering of this most familiar of cycles that was deeply unsettling – in the best possible way.”
The Oxford Times, 21 October 2009

“Holzmair and Haefliger presented the work as full-blooded drama and with wide-ranging emotions… Haefliger’s piano tone for the softer passages and sharp fortes for more dramatic words or phrases had been meticulously thought out and planned, but was always delivered with both passion and conviction.
The last song in particular, “Der Leiermann” (The Hurdy-Gurdy Man) started with a evocative piano introduction from Haefliger, who produced the bell-like sounds evoking the stillness of the hard winter’s day with the old Hurdy-Gurdy man playing his music, while Holzmair brought out all of the true pathos and despair of this final song which ended with a full minute or so of silence from the enraptured audience – who then gave the artists a well-deserved standing ovation.”
Seen and Heard International, 20 October 2009

An Evening with Andreas Haefliger and Michael York / La Jolla SummerFest
“Haefliger is a marvelous pianist who can coax an infinite variety of tone qualities from his instrument…In Isolde’s Liebestod from Tristan und Isolde, Haefliger got free rein. The sustained buildup over a long-spun crescendo from the murmuring tremelos of the opening to the thundering apotheosis of the climax was truly astonishing.”
Classical Music Review, 14 August 2009

Lieder by Wolf and Liszt with Matthias Goerne / Salzburger Festspiele
“A Liederabend of rare quality…Haefliger’s accounts were full of revealing detail… I was especially taken with [his] unsettling syncopation in the second of the Harfenspieler songs from Goethe. It was all the more unsettling for its subtlety, its lack of exaggeration.
..An ecstatic richness of tone in both parts, initiated by the Creative act, culminated in the defiance of ‘Herr, laß uns kämpfen, laß uns siegen!’ (‘Lord, let us fight, let us triumph!’) That is certainly what Goerne and Haefliger accomplished in this recital.”
Seen and Heard International, August 2009

Wigmore Hall / Janacek, Beethoven & Brahms
“…a memorable Wigmore occasion - as was the Swiss pianist Andreas Haefliger’s recital a few days earlier. He is a musician evidently at the peak of his powers. Janacek’s two-movement Sonata I.X.1905, an elegy for a youth murdered in a Czech nationalist protest, was equally searing and exquisite. Beethoven’s Waldstein sonata was immaculately realised, vigorously thought through, with a perfectly moderated allegretto tempo for the finale; and in the second half Beethoven’s subtle little F sharp sonata, a full-dress, four-movement structure, but coming across in this masterly account as a dramatic unity."
Paul Driver, Sunday Times, November 2008

'Perpectives 3' / Beethoven & Schubert
"Listeners who've followed Andreas Haefliger's solid virtuosity and serious, thoughtful musicianship will find no surprises here... Haefliger's innate affinity for Beethoven's Op 28 Sonata manifests itself via the pianist's relaxed tempi and ample tone. Taste and proportion govern his penchant for rhetorical broadenings and tenuti... he Appassionata’s outer movements achieve a happy fusion of drama, cumulative sweep and textural clarity.”
Gramophone Magazine, June 2008

“Zuhörer, die Andreas Haefligers solide Virtuosität und ernsthafte, durchdachte Musikalität verfolgt haben, werden hier nicht überrascht sein. Seine Neigung zu rhetorischen Verbreiterungen und Tenuti werden von Geschmack und Sinn für Proportionen bestimmt. Die Außensätze seiner „Appassionata“ erfreuen durch eine gelungene Fusion von Dramatik, Spannungsbogen und Klarheit der Textur.”
Gramophone Magazine, June 2008

“The ultimate praise of Haefliger’s technical equipment might be that one is simply never aware of it; one hears only beautiful, fluent music-making, unimpeded by the physical. My avoidance of comparisons in this review is deliberate. It seems to me that, among the more interesting contemporary pianists assaying the Viennese classical canon, Andreas Haefliger is in a class all his own.”
International Record Review, April 2008

“Das höchste Lob für Andreas Haefligers Technik könnte sein, dass man sich ihrer einfach niemals bewusst ist; man hört nur von Körperlichem ungestörte, wunderbare, fließende Musik. Mir scheint, dass Haefliger unter den interessanteren Pianisten, die sich heute den Kanon der Wiener Klassik vornehmen, eine eigene Kategorie beansprucht.”
International Record Review, April 2008

Konzerthausorchester Berlin & Gilbert Varga / Beethoven Piano Concerto No.5
“Haefliger never attacks the piece too directly, and this pianist has few competitors musically to fear in this generation.”
Berliner Zeitung, May 2008

“an Musikalität hat dieser Pianist heute in seiner Generation wenig Konkurrenz zu befürchten”
Berliner Zeitung, May 2008

“…Andreas Haefliger added great meaning with his nimble-fingered playing. This was faultless music making without exaggeration or personal quirks, truly at the service of Beethoven.”
Berliner Morgenpost, May 2008

“... Haefliger fügte seine fingerfertige Klavierkunst aufs verständnisinnigste ein. Es setzte, im Dienst an Beethoven, ein tadelloses Musizieren ohne Übertreibungen und interpretatorische Privatinteressen.”
Berliner Morgenpost, May 2008

Philharmonia Orchestra and Christoph von Dohnányi / Beethoven’s Piano Concerto No.3
"Beethoven's Third Piano Concerto brought an outstanding partnership with the Swiss pianist Andreas Haefliger. Having heard Dohnányi accommodate himself to various ‘star’ pianists in this concerto, with Haefliger one had by contrast the satisfying sense of a genuine marriage of musical minds. Like Alfred Brendel (with whom Dohnányi collaborated in this work last year), Haefliger is a player with a fine sense of classical style, clean without being prissy, dovetailing beautifully in his exchanges with the orchestra yet able to touch on deeper things as in the solo with which the Largo begins which stole in with an almost improvisatory feel. The finale had a dry wit, full of character yet avoiding any hint of overstatement. Dohnányi pounced in cat-like style at the danger-point in the coda."
Classical Source.com, April 2008

Lucerne Piano Festival / Beethoven & Schubert recital
“Den persönlichsten Eindrunk unter den erstmals am Piano-Festival auftretenden Pianisten hinterliess gestern Morgen im Konzertsaal Andreas Haefliger. Das Ereignis war hier die feinen Zwischentöne in Schuberts verloren kreisender letzten Sonate.“
Neue Luzerner Zeitung, November 2007

BBC National Orchestra of Wales / Beethoven
"... with Haefliger indulging Beethoven's romantic lyricism, this was a refreshingly different interpretation."
The Guardian, June 2007

Vienna Musikverein / Tonkünstlerorchester Orchester / Ravel
"The solo part was played with excellent technique and shaping by Andreas Haefliger."
Kurier, June 2007

Beethoven, Bartok and Brahms / Avie “Perspectives 2”
"The fabulous Swiss pianist Andreas Haefliger plays works by Bártok, Beethoven and Brahms under the title ‘Perspectives 2” (on 2 CDs). He is always coherent and technically excellent. Brahms sonata in F minor is especially worth a listen."
Wiener Kurier, May 2007

“Der ausgezeichnete Schweizer Pianist Andreas Haefliger spielt unter dem Titel “Perspectives 2” (auf zwei CD’s) Werke von Bártok, Beethoven, und Brahms. Stets stimmig, technisch exzellent. Vor allem die f-Moll-Sonate von Brahms lohnt das Hören.”
Wiener Kurier, May 2007

Beethoven, Bartok and Brahms / Avie "Perspectives 2"
"Perspectives 2 reflects Haefliger's thoughtfulness in programme-building, as well as his musicianship and selfless virtuosity. He conceives Beethoven's Sonata No 27 on a large scale, with pronounced dynamic contrasts and rhetorical underpinnings... Haefliger colours the main theme's decorative manifestation with exquisite shadings...
…His mastery in Bartók's Out of Doors suite comes as no surprise: notice in the finale how he his animated left hand clarifies the music's polyrhythmic momentum...moments abound where Haefliger gives in to Brahms's unbridled energy: listen to him gather steam en route to the finale's coda and simply let things rip."
Gramophone Magazine, June 2006

"…the Brahms Piano Sonata No.3, given a splendidly sonorous, magisterial performance of great distinction."
Classic FM Magazine, May 2006

"A towering performance of Brahms' massive F minor Sonata sounds as revolutionary as everything that has gone before. Quirky, tremendous and highly recommended."
The Guardian, March 2006

Vienna Symphony Orchestra / Schumann
"…Andreas Haefliger created dreamlike moments at the keyboard with his soft, magical touch, playing romantically without gliding into the sentimental."
Vorarlberger Nachrichten, August 2005

BBC Symphony Orchestra / Grieg
"The welcome soloist was Andreas Haefliger, whose easy command of the keyboard meant that lyricism shone through even in the most technically demanding moments. He floated a dreamy line in the adagio and brought out the finale's dancing rhythm."
The Times, May 2005

Danish Radio Symphony Orchestra / Brahms
"The fabulous Andreas Haefliger was soloist in this Thursday concert and offered a brilliant piano performance, a steely will and Johannes Brahms in the style of Beethoven...One moment he is pushing the music forward with determination, in the next he's creeping right under the skin of the notes, with an intensity that almost makes time stand still. One minute he is intently watching what the orchestra is doing, the next he is leaning back listening to the music with relaxed concentration. In this sense, he's a man of extremes. But he's also a musician with such good taste and sense of form that his music never seems eccentric or posturing."
BerlingskeTidende, October 2004

BBC Scottish Symphony Orchestra at BBC Proms / Beethoven
"Haefliger maintained refinement, eloquence and perspective, with a wonderful capacity for hushed, mellow playing that was not only right for the musical context but also utterly spellbinding. This was the most completely enjoyable performance of the Proms so far."
The Daily Telegraph, July 2004

Mozart Piano Sonatas / Avie
"These are exquisite performances, beautifully recorded, of Mozart's last four sonatas… Haefliger's playing is unmannered, crystal-clear in figuration and poetic in phrasing."
The Sunday Telegraph, October 2003

"… this is always intelligent, deeply musical playing that will appeal to those who like their Mozart crisp, clear-eyed and athletic."
The Daily Telegraph, October 2003

In recital / Schubert, Beethoven, Ades and Mozart "Haefliger really understands the art of putting together an intelligent and sensitive programme. ... The middle movement [of the Beethoven] was full of lyricism, and with the final movement he returned to the mood of the start, playing everything clearly and with control. …He played the Allegro with clear strength and brilliance, and after creating an unbelievable tension in the Adagio, he let the Allegretto follow with an almost playful jollity. And technically? A work of Swiss precision!"
Wiener Zeitung, May 2003

"Haefliger is one to take risks, which make him a fascinating artist…Haefliger then simply let the Mozart Sonata flow out of Adès's irresolution, lifting us from grief to serenity…"
The Guardian, April 2003

Bayerischer Rundfunk Symphonieorchester, Munich / Grieg
"Andreas Haefliger played the solo part with the necessary technical perfection and gave energetic momentum through his organic, never arbitrary rubato"
Münchner Merker, February 2003

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These are featured projects related to Andreas Haefliger:

Perspectives
Perspectives describes Andreas Haefliger's creative approach to programming, both in concert and for recordings. In recital Haefliger seeks to explore Beethoven's piano music as well as the music of composers who influenced, or were influenced by Beethoven - composers such as Mozart, Brahms, Janácek and Ligeti. Haefliger's Perspectives programmes are also being recorded for Avie Records and have received great critical acclaim. On this page you...