Critical Acclaim

“Tedeschi..the rarest of gems..cast his spell..confirming the long held belief that you can tell a true artist within five minutes. I have never heard such subtle control of line, such proportion, such a complete mastery of space.. Technically the playing was nearly faultless and refined to an unusual degree. Yes, he’s musical..a technical wizard..has the brain power..his clear joy of being on stage..exquisite, motionless beauty! One way or another you will hear from him again.”
Gordon Sparber, Winston Salem Journal

“Greatness can be difficult to define but its presence is also tangible. In Simon Tedeschi’s recital…there was no doubting that greatness. The music…all of it technically daunting, seemed to flow,unimpeded, through the fingers of this extraordinary, 18 year old Sydney pianist. When I last heard (this piece of music) in a concert, that pianist made everything sound terribly difficult (which the music is). With Tedeschi it all danced and glittered…brilliant and technically daunting, in this performance it was dazzling…Tedeschi never overdid his treatment…he had the measure of music in every respect. Tedeschi played it with tact and poise, all the more remarkable after the virtuosity of the two redoubtable memorial fantasies…It was a triumph for Tedeschi…Was it wild? Yes, but formidably disciplined too – an exhilarating piece played with breathless flair, for a breathless audience. True greatness.”
John Shand, Sydney Morning Herald, 2001

“…(his) command of the keyboard and musical insight continue to grow and impress…enormous technical fluency and a wry sense of humor…Tedeschi made the virtuosic passages seem like child’s play, but never let this most articulate music to become childish gobbledygook…an enchanting account…the pianist’s feeling for colour, sonority and poise never deserted his performance, an encouraging sign in a young artist.”
David Vance, Sydney Morning Herald

“Brilliant…he seemed clearly the most musically mature of them all…done with a subtlety and grace…”
Lawrie Strachan, the Australian

“He was quite brilliant…Tedeschi’s technique is impressive, and his whole manner shows maturity beyond his years.”
Lawrie Strachan, the Australian

“The night’s star…promises much for the future…”
Diana Simmonds, the Bulletin

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“A terrific reading…went over big with the crowd…his rhythmic discipline in the often martial episodes of the outer movements was good and nimble, and he gave the slow movement a wonderfully rounded tone.”
Gordon Kerry, Sydney Morning Herald

“His concert…was notable for three things: fresh repertoire, immense technique and radiant musicality.”
John Carmody, Sun Herald

“exceptional talent…a rare delight in both timing and expression”
Daily Mercury, Queensland

“precociously talented…the clear highlight of the concert… due to the undoubted talent and commitment of the young soloist.”
David Gyger, Opera Opera

“This was not excessive, overblown pianism but an intelligent programme that explored Tedeschi’s breadth of skill…here was gentle,even playing, with legato elegantly executed and with a subtle emotional edge applied…beautifully phrased…Tedeschi’s talent is being ideally nurtured towards a long and impressive career at the keyboard…intelligence in one so young is a rarity in modern musicianship.”
Jeremy Vincent, The Australian

“…easy confidence and unflappable manner…a nice balance of tone with the fugal themes well articulated…tossed the Schubert Impromptu off with brilliant clarity…”
Gold Coast Bulletin

“Smouldering, passionate young pianist….burning up the keys…”
JT, Sunday Mail

“Played with furious ease…”
Adelaide Advertiser

“Played with limpid clarity and sweeping rapture by Simon Tedeschi….”
Alan Brissenden, The Australian

“Piano pieces played live with appropriate rigour and empathy by the award winning young pianist…”
Jill Sykes, Sydney Morning Herald

“I just wish Gershwin were here… one of the finest exponents of his music I have ever seen.”
Larry Adler

“The young pianist was superb: clean, bold and confident and Adler clearly relished his playing.”
John Shand, Sydney Morning Herald

“This superb young pianist seems to have the chameleon personality (and robust technique) to cope with it all…it is a daring collection, and it works splendidly…his performance of Mozart’s Fantasia in D minor typifies his approach: almost brooding in the arpeggios of the opening with a clipped fortepiano style…for the rest of the piece. Whether it is the insouciance of a Friedman waltz arrangement, a droll little syncopation by Mary Mageau, the dash of Gershwin’s Preludes, the gentle undulations in Debussy’s En Bateau or the totally controlled Helter Skelter of Morton’s formidable Fingerbuster, there is not a dull track. But for sheer relish it is hard to go past the poker faced parody (it’s macabre too) of Schedrin’s Humoresque, Seiber’s coilspring Scherzando Cappricioso or the outdoor vitality of Agnew’s Rabbit Hill… the mecurial Simon Tedeschi.”
John Shand, Sydney Morning Herald

“When the dance seems over-extended you can switch your attention to Tedeschi, for his performance is also an exercise in movement, with dramatic gestures or hunched fervor, and the music allows for a shift from concentrated focus to meditative reverie.”
Hilary Crampton, The Age

“Brought back memories of Levant in its relentless pizzazz. ………displayed a fine technique.”
Clive O Connell, The Age

“…brought to the piece an assured technique and rich understanding of its changing moods and colours in a memorable performance, amongst the best of the series.”
David Vance, Sydney Morning Herald, July 20 2005

“..a level of intensity that only a history of tragedy, war and cold weather can invoke. He may not be Russian ,but 24 year old Simon Tedeschi can certainly express a Russian intensity. Tedeschi plays with great depth. The famous opening chords of Tchaikovsky’s first concerto are right on the beat, but every key phrase thereafter is reined with rubato, which instills the sense of Russian passion…”
Jodie McLeod, Limelight Magazine, 2004

“Played like an angel…one of the best musicians of his generation worldwide.”
Leslie Howard

“On the evidence of this recording he brings an assured technique to his performances, as well as an obvious musical intelligence. These are thoroughly competent, assured performances; the faster movements are played with commitment and panache, the slow movements are properly, and unexaggeratedly, poetic. The lyrical opening of the Grieg adagio is particularly well played…in the Tchaikovsky the long melodic line of the andantino is attractively shaped and there is plenty of energy in the final allegro….He is a name to note.”
Glyn Pursglove, MUSICWEB INTERNATIONAL (UK)

“Putting Tedeschi (and Cooper) is like mixing nitro with glycerine – an explosion of musical virtuosity!”
James Morrison

“The performances from Simon Tedeschi and the Melbourne Symphony Orchestra under Paul Mann are of the highest order…warmly recommended.”
International Record Review, March 2005

“One of the finest artists in the world”
Roger Woodward

“Magic with the lively lad…raises a smile from admirers…brought these two players together in a performance of vivid rhythmic intricacy…hewed out spiky textures and flinty phrases with exhilarating dispatch…galvanised the two into splendid momentum…rang as if tapping into the viscera of eternity.”
Peter Macallum, Sydney Morning Herald, June 2007

“A magnificent evening of music from the two preeminent pianists of their respective generations…few people could have doubted the technical challenges to both performers and how brilliantly they carried them off…A delightful reading of J.S. Bach’s double harpsichord concerto in C, BMW1061, followed and showed how well Woodward and Tedeschi fire off each other…it is hoped (these concerts) become annual events…”
Steve Moffat, Manly Daily, 2007

“An absolute treat for all those fortunate enough to hear it…from J.S. Bach to Charlie Parker….these musicians (Ian Cooper and Simon Tedeschi) are totally professional, with an impeccable technique, showing a complete mastery of their instrument….their infectious personalities endeared them to their listeners from the beginning. Their amazing rapport with the audience and with eachother was unique and very entertaining…”
Blue Mountains Gazette, July 22 2007

“He already draws the listener into his world, and that is a rare gift”
Nick Kimberley, This is London

“This one is for true believers…it was a night when two of our finest pianists from the realms of jazz and classical music had a Steinway standoff, their facial expressions mirroring their delight as they fired off eachother in a clever combination of prepared arrangements and good, old fashioned jamming…left us all wondering ‘who could ask for anything more?”
Steve Moffat, Manly Daily, July 20 2008

“The versatility of classicist Simon Tedeschi makes me seethe with envy”
Lloyd Bradford Syke, Australian Stage Online, August 10 2008

“They were still wanting more from pianists Simon Tedeschi and Kevin Hunt when the performance finally ended over two hours later. Whether I Want to Play Like Him is really a cabaret act or not seemed to matter less than the richly playful quality of what the performers were doing with a lot of jazz, a little classical and a bit of original.”
Canberra Times, July 23 2008

“His (Leigh Warren) choice of Scriabin’s demanding piano works, and of Simon Tedeschi to perform them, give the feeling of an impromptu immediacy, an added stimulus to the intimacy of the dancers’ performances…Tedeschi, seated at the grand piano in the centre of what would be the pit, is like a wondrous puppet master. His sensitive coaxing or thrusting of the score draws the invisible strings of the eight dancers from the informality of their onstage warmups into wild pairings in the central pool of light, or in the half-life of the penumbra. Always there is a perfect unity of purpose and execution.”
Russell Starke, Adelaide Messenger

“Tedeschi’s fireworks show…Simon Tedeschi demonstrated why he has been dubbed one of the finest musicians of his generation with half an hour of sheer artistry…starting off with a dazzling performance of Rachmaninov’s Rhapsody on a Theme of Paganini, Tedeschi then delighted a big Angel Place crowd with a ragtime pianistic fireworks display worthy of the Foti family…with one of Tedeschi’s all-too-rare Sydney appearances, this was a stirring and uplifting night.”
Steve Moffat, Mosman, Daily December 16, 2008

“Tedeschi’s fireworks show…Simon Tedeschi demonstrated why he has been dubbed one of the finest musicians of his generation with half an hour of sheer artistry…starting off with a dazzling performance of Rachmaninov’s Rhapsody on a Theme of Paganini, Tedeschi then delighted a big Angel Place crowd with a ragtime pianistic fireworks display worthy of the Foti family…with one of Tedeschi’s all-too-rare Sydney appearances, this was a stirring and uplifting night.”
Steve Moffat, Mosman Daily, December 16 2008

“The well recorded sound of good musicians having fun paying wildly diverse music on superb instruments is a delight…while anchored in jazz, the playing flirts with tango, country, gypsy and classical strains, all executed with great flair, including tongue-in-cheek moments and pools of genuine beauty.”
John Shand, Sydney Morning Herald, January 15th 2009

“Strauss…in the hands of Simon Tedeschi and Deborah Cheetham evoked a magic equal to that of the Gyuto Monks’ chants.”
World Tibet Network News

“Well, enter Simon Tedeschi and suddenly you’re hanging on every note of what suddenly you realise is an extraordinary masterpiece. This was an absolutely wonderful performance and the soloist explored every subtlety and harmonic originality and he enjoyed himself so much and that enjoyment made his involvement in the piece totally infectious….I was soon finding myself listening totally freshly as if I’d never really heard the work before. The only word, I think, for this astonishing performance is breathtaking. It was absolutely compelling from start to finish. He carried the audience with him every step of the way so that the spontaneous standing ovation at the end was rather inevitable, really….the ease of his technique and his virtuosity was always at the service of the music and he brought every phrase to life with absolute charisma. The music making was as intoxicating as you could wish. The audience was on quite a euphoric high…It was an inspired performance . It was as if he was improvising the whole piece from start to finish. There’s also an orchestral element in Rhapsody in Blue…the orchestra played with equal commitment and flair, perhaps inspired inspired by some extent…by the soloist. The whole performance was a superb example of shared music making, not just a one sided showpiece for the soloist. And then Simon Tedeschi gave us an encore that seemed to raise the stakes of virtuosity and inspiration even higher…whatever it was, I’ll certainly be going out of my way to see this pianist if the opportunity arises again…he’s certainly a name to watch…a truly magnificent concert…one of the highlights of the year so far.”
Tony Ryan, Radio New Zealand, July 6 2009

“Interwoven are some brisk clever pieces that underline the central pair’s lightly sprung style informed by a sympathetic, often surprisingly elegant musicianship….this CD radiates class.”
Clive O’Connell, The Age, Sept 26 2009

“…Tedeschi adds an impressive array of ideas, channelling Bach via Loussier…”

Peter Wockner, Limelight Magazine, November 2009

“Ian Cooper (Violin), and Simon Tedeschi (Piano) are both great entertainers and performers. The near capacity audience at Bennetts Lane Jazz club are captivated…”
Steve, Indigo4music.com, November 2 2009

“…an electrifying performance….Tedeschi, always an exciting pianist, was in cracking form.”
Steve Moffat, Inner West Courier, June 11 2010

“Simon Tedeschi was an inspired choice of soloist. He leaped into the work with brittle glee. On multiple occasions he was close to a cruel parody of himself as mad pianist, but each time it came back from the brink of crude sarcasm as a keen musical intelligence prevailed. His lyrical moments had a wonderful, airy feel of taking a tune for a walk, full of relaxed curiosity about where it might end up.”
Harriet Cunningham, Sydney Morning Herald, June 12 2010

“Australian pianists Simon Tedeschi (classical) and Kevin Hunt (jazz) complement each other’s techniques and sonorities. Tedeschi could deliver Debussy’s Prelude from Suite Bergamasque or Claire de Lune, or Ravel’s Mother Goose Suite with exacting class, and Kevin Hunt is capable of spinning the best from Gershwin’s I Got Rhythm or Dave Brubeck’s Blue Rondo a la Turk. But put them together and a new music sensation emerges. A new dynamism lights the product. It is Mother Goose like you’ve never heard it, embellished with quirky rhythms and feathery runs, but suave and evocative just the same….Debussy’s Footprints in the snow is pensive and sparse, more jazz reflection than impressionist sonority…just listen to what soft jazz shading can do to vintage romantic. Ellington’s C Jam Blues is a classical jazz finale.”
Patricia Kelly, Courier Mail, 23rd October 2010

“One of the most enjoyable jazz albums to come my way recently…(Simon Tedeschi has) a rare feel for improvisation…together they are dynamite, as their release Woodlands on the ABC Jazz label shows. I heard this duo play a set at the Basement three years ago – pretty much what is on this album – and their Steinway standoff rocked the socks off the customers… the Mother Goose Suite, originally written for two pianos, is a delight… listen out for their exhilarating take on Brubeck’s Blue Rondo a la Turk. Top notch.”
Steve Moffatt, Mosman Daily, 8th December 2010

“Australian audiences are the lucky beneficiaries of his already consummate keyboard prowess now so well-refined. Tedeschi has built a solid reputation for his pianistic versatility, moving effortlessly from the most difficult classical works to the freedom of jazz. This concert was no exception….Tedeschi’s performance was stunning….Simon Tedeschi’s playing style is dynamism in its element. One minute he is pushing down notes so gently, they can hardly be heard. The next he is testing the power of the piano to its limit. It is never forced though; his deft fingering carries exquisite sensitivity. All the while, his relaxed on-stagepersonality delighted a smitten audience.”
Clinton White, Canberra City News, July 28 2011

“There can be few more pleasant ways to spend a damp and gloomy winter afternoon than attending a recital by one of the country’s greatest pianists….Tedeschi’s Sunday recital in the National Gallery of Australia’s Gandel Hall was, as expected, a masterful balance of passion and virtuosity. The surprising thing is that it was also a lot of fun….Tedeschi retains much of the boy-ish charm that served him so well as the wunderkind of the Australian piano….reminiscent of Chopin in its rhythmic freedom and expressiveness….Tedeschi revelled in the filigree of embellishment…”
David Sanderson, Canberra Times, July 26 2011

“Then, for something completely different, in every way, onto the stage bounded the effervescent Simon Tedeschi who blazed away on the piano with a deeply felt and individual interpretation of Gershwin’s ever popular ‘Rhapsody in Blue’.”
Kym Clayton, The Barefoot Review, December 2011

“You can reach out and touch his passion (so to speak), which is amply evident in every note he plays and in the way he enthuses about each piece. Mindblowing.”
Brad Syke, J-Wire, March 29 2012

“This (Tedeschi and Sydney Omega ensemble) was a tightly-performed and entertaining program, given in one of the most inspiring rooms in which to listen to chamber music.”
Wentworth Courier, May 30 2011

“Pianist Simon Tedeschi’s performance is remarkable, creating strange percussive sounds with the piano which further suggest metal on rock.”
Melanie Burge, ArtsHub, September 10 2011

“These young performers (Simon Tedeschi and Sydney Omega Ensemble) always put on a great show, and this concert was no exception…in all this was a lovely evening of music.”
Steve Moffatt, Manly Daily, 20th April 2012

“The prodigious and indefatigable Simon Tedeschi…certainly, Tedeschi and Macneish derive every nuance of feeling from the work: in their skilled hands, piano and cello couple with the intimacy of a man and woman sharing the most tender love…ST, of course, is the kind of savant one tends to imagine only existed in bygone days…Tedeschi’s quick and nimble fingers dance on the keyboard, to provide a lightness and brightness, especially to the opening movement, with a delicacy and sprightliness that is rare and, for mine, what distinguishes a memorable performance from an also-ran…I’ve no doubt even Ludwig would’ve sprung to his feet….But the piece de resistance was inarguably Tedeschi’s solo performance, which ended the programme. His arrangement of Gershwin’s Rhapsody In Blue in itself proves him no less a genius than Schubert. Then again, one might argue he has a profound genetic leg-up….erhaps this blood brotherhood explains why Tedeschi is prepared to be so bold with the work, changing emphases, delivering it with a kind of urgency and fervour that is both unusual and arresting. It just so happens Gershwin brought a similar attitude to it, if a precious piano roll is anything to go by. Between the two of them (and it almost seems like both are present), ‘wonderful. A piece with which I’m always thrilled to be reacquainted, it’s held a fascination with me since early childhood and it’s still really got a hold on me. So has Simon Tedeschi….”
Lloyd Bradford Syke, J-Wire, November 16 2012

“Though separated by time, pianist Simon Tedeschi and George Gershwin have been connected in spirit…Tedeschi’s performance is of the highest calibre and his interpretation sympathetic, deftly moving from the brighter and punchy style of ragtime, through the mellow romanticism of Gershwin’s ballads….”
Shamistha de Soysa, Sounds like Sydney, November 21 2012

“Played superbly by Simon Tedeschi…”
Ken Healey, North Shore Times, November 30 2012

“…So just when you thought you had heard Gershwin’s works at their best, along comes another must-have recording to add to your collection…some very satisfying, sensitive playing…an excellent collection and a fine tribute to the composer…”
Lloyd Capps, Fine Music Magazine, January 2013

“A suave, personal, a piacere dimension to some of the finest creations of the inimitable George Gershwin…took to Gershwin like a duck in water…superb…”
Patricia Kelly, Courier Mail, January 12 2013

“Simon Tedeschi is a wonderful performer whose passion and personality comes through in the performance – live or recorded. Listening to his CD feels like you’re there live and, for me, it can’t get much better than that. The Gershwin & Me CD has been my desk buddy on rotation this week and I haven’t tired of it yet. The music reaches out of the speakers and pulls me in.”
Kate Tribe, Classikon, January 2013

“Given the uniform mastery of these performances, it must be agreed that this project has been worth the wait…it is apparent that this is a Gershwin interpreter who can hold his own against anyone in the catalogue…Tedeschi has the full measure of these short but elusive pieces…and, as elsewhere in this remarkable recital, goes a long way towards proving
that it is no longer considered necessary to be an American musician like Bernstein, Graffmann or Tilson Thomas to fully identify with this most American style with its syncopated rhythms, jazz references and improvisations. Simply put, Tedeschi delivers a rarity: a high-energy Gershwin disc that can stand tall among the finest that America has to offer…it is Tedeschi as soloist who must be singled out for distinct praise….Even in these done-to-death tunes, Tedeschi finds much that is refreshing, offering a new take upon the familiar.”
Brett Allen-Bayes, Limelight Magazine, March 7 2013

“IT’S a brave Aussie pianist who ventures into quintessentially American territory, especially with those Yankee Michaels (Tilson Thomas, Feinstein) breathing down your neck. Yet, in the music here, recorded by the ABC mostly in September last year, Simon Tedeschi joins the pantheon of these Gershwin gods. Most beguiling of all is Tedeschi’s languorous reading of the three Preludes, where pulse and metre hover in the air.”
Vincent Plush, The Australian, March 23 2013

“Tedeschi  conveys Gershwin’s style with assuredness.  After all, he is an experienced performer of Gershwin. He is adept at revealing the surprise of the new….Syncopations and crunchy harmonies are presaged with the slightest of pauses – a momentary suspension of the breath before the revelation; there is a jaunty confidence in Promenade, a hint of ‘honky-tonk’; improvisation and irresistible rhythms.”
Shamistha de Soysa, Sounds Like Sydney, December 3 2013

“Tedeschi can dive and dive deeply…with a pulsating delivery…the abundance of his musicality serves these treasures well…’
Andrew Vélez, New York City Jazz Record, April 2014

“Simon Tedeschi’s playing was mesmerizing…”
Lynne Lancaster, Sydney Arts Guide, April 4 2014

“Simon Tedeschi is nothing if not versatile…profound understanding…a gentle and questing sensibility…”
Margaret Steinberger, ClassikOn, June 2014 

‘Tedeschi’s pianism is as comforting as a favourite coat on a chill day.’
Patricia Kelly, Courier Mail, July 10 2014