In the Press

‘He doesn’t seem to try overly hard to be distinctive, but he is so nonetheless, his playing always buoyant and convincingly thought-through.’

The Guardian

‘Madness, all 24 preludes and fugues by Shostakovich, two and a half hours of piano music, performed in one evening. Pianist Hannes Minnaar did it at the Schiermonnikoog Festival. And how. Tirelessly thought out and empathized down to the last fugue. Trance-inducing, debilitatingly good.’

NRC (#4 in best concerts of 2022)

‘The perhaps best pianist of the Netherlands could have an international career on the organ too.’

De Volkskrant

‘The special qualities of language and idiom of Viktor Ullmann’s Piano Concerto were demonstrated by Hannes Minnaar and the Radio Philharmonic Orchestra conducted by the fantastic James Gaffigan. Minnaar played the treacherous notes superbly and orchestra and conductor also showed great sensitivity for this extraordinary middle-European soundworld.’

Het Parool

‘Bach fits Minnaar like a glove. His Goldberg Variations are unsurpassed in terms of atmosphere, understanding, rhythm, virtuosity, tranquility and flexibility.’

De Nieuwe Muze

‘His approach to Bach’s Goldberg Variations was very unclad; one could hear everything. Unlike colleagues who stun their audience with a surplus of personality, Minnaar persisted stubbornly in his textual approach. The shadow of Glenn Gould, one of the icons who became synonym with this work, was far away; Bach, on the other hand, seemed nearby.’


‘The pianist formed a perfect unity with conductor Jan Willem de Vriend. The operatic character of Mozart’s “Jeunehomme” concerto No. 9 blossomed in the dialogues between soloist and orchestra. Minnaar made his piano sing and speak as if there were an invisible libretto beneath the score: every phrase was audible, no note was lost.’


‘Hannes Minnaar is not a pianist who uses music to showcase his tricks. Rather, it is the opposite: he makes every effort to let the music speak for itself. He opened up the dense voicing of Franck’s Prélude, Aria et Final through his meticulous treatment of all the lines. There are not many pianists who manage to uncover this much beauty from this complicated music.’

Trouw (Live in the Master Pianist Series, Amsterdam)

‘Minnaar does not conform to the stereotype of the piano virtuoso and does not give the impression of being consumed by burning ambition. Rather, he is modest, cautious, looking for balance. This attitude also characterizes his playing, which is free of bluff and swagger and in deference of the music at all times.’

NRC (Live in the Master Pianist Series, Amsterdam)

‘It sounds paradoxical, but Minnaar overwhelmed with the calm he radiated in Rachmaninov’s Third Piano Concerto. No show, but pure concentration on structure and notes. Lots of notes, even more so if you play the alternative cadenza in the first movement, like Minnaar did inimitably.’


‘Rachmaninov’s Third Piano Concerto – including the virtuoso cadenza – sounded impressively streamlined, flawless and balanced, sentimental without false sentiments, romantic without misplaced exaggerations, colourful and overwhelming like a natural phenomenon.’

De Nieuwe Muze

‘Minnaar shows Rach 3 at its sweetest, softest and featherlightest. He takes a refreshing look at the monument. Where you usually find yourself lost in the compelling melancholy in just a few minutes, Minnaar gives you the chance to actually hear how well-placed each of Rachmaninov’s notes are.’


‘In almost perfect harmony with the Münchner Symphoniker conducted by David Reiland, Minnaar took us through Chopin’s First Piano Concerto. A virtuoso guide without a doubt, but one in the service of the music.’


‘With his self-evident virtuosity and a fantastic colour palette, he accentuated the fascinating musical layering of the Ravel G Major Concerto: it sounded sparkling new under his hands. Such exciting dynamic nuances, a songful toucher in the serene middle section and nicely swinging rhythmics.’

Eindhovens Dagblad

‘A natural, pure, clear and unadorned style. Like a master painter, the pianist colours the canvas that is presented to him by orchestra and conductor. Rarely have key triads evaporated so beautifully from a grand piano.’

Volkskrant (Dutch Music Prize concert)