Melvyn Grabb

Whereas Beethoven's Piano Concerto No. 3 is, despite its exemplary classical form, a direct descendant of Mozart's late works of the same genre (the opening theme appears to be a quotation), his No. 4 is a pioneering work full of innovation and ideas that were staggeringly different: the very fact that the first movement is introduced by the pianist playing solo instead of by an orchestral introduction is a revolution in itself and a signpost of the good things to come. The adjective that seems to describe Melvyn Tan's and Roger Norrington's recording best is 'winsome', here used in its positive meaning of 'attractive, pleasing' with a slight tinge of 'childlike-ness'.

Sparkling performances of Mozart's piano concertos No.18 and No.19 by keyboard virtuoso Melvyn Tan, "that princeling among fortepianists" (San Francisco Examiner). "Nimble, thoughtful musicianship… a sweet, crystalline tone" - San Francisco Chronicle "Two of the most seductive Mozart performances available" - Chicago Tribune

His first recital album on Signum Records, internationally acclaimed pianist Melvyn Tan brings a new perspective to Beethoven’s Piano Sonatas 30, 31 and 32. Exploration, insight and imagination are vital ingredients in Melvyn Tan’s blend of artistic attributes. He established his international reputation with pioneering performances on fortepiano and continues to cast fresh light on music conceived for the piano’s early and modern forms.

His first recital album on Signum Records, internationally acclaimed pianist Melvyn Tan brings a new perspective to Beethoven’s Piano Sonatas 30, 31 and 32. Exploration, insight and imagination are vital ingredients in Melvyn Tan’s blend of artistic attributes. He established his international reputation with pioneering performances on fortepiano and continues to cast fresh light on music conceived for the piano’s early and modern forms.