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“Matthew Hagle provides superb piano accompaniment throughout, with a deep, rounded touch\u201d \u2013 sequenza21.com<\/em><\/p>\n “Pine and her very able piano partner Matthew Hagle treat us to a true celebration of the violin in its several guises.\u201d classicstoday.com<\/em><\/p>\n \u201cIt was a worthy performance, strong and even, of a piece that should be played more often. This was equally due to the virtuosic playing of pianist Matthew Hagle, who reacted to the difficult writing with a sense of adventure\u2026\u201d \u2013 ionarts.com<\/em><\/p>\n \u201cHagle took a more understated approach than was ideal at times for this duo-concertante work, but provided polished and alert keyboard work.\u201d \u2013 chicagoclassicalreview.com<\/em><\/p>\n \u201cThere was nothing reserved, however, about the performance of Bartok’s “Contrasts” for Violin, Clarinet and Piano\u2026Yesterday’s reading was exceptionally alert\u2026filled out by Hagle’s incisive, keenly pedaled contributions. The third movement Sebes (fast dance) was a whirling,explosive testament of joy.\u201d \u2013 Louisville Courier-Journal<\/em><\/p>\n \u201cShe was joined for the rest of the program by Matthew Hagle, a sensitive pianist who knew when to defer, and when deference would be counterproductive. They proved a well-matched duo in Mendelssohn\u2019s Sonata in F (1838), which gives both players singing lines as well as sparkling, brisk figuration. \u2013 New York Times<\/em><\/p>\n “There were no signs of angst from these two visitors [Rachel Barton Pine and Matthew Hagle], whose rendition of the stark, at times chilling piece [Prokofiev Violin Sonata #1] explored every conceivable emotional twist and turn. To call this a brilliant performance is an understatement.” – CVNC: A North Carolina Online Arts Journal<\/em><\/p>\n \u201cThe performers were outstanding\u2026Matthew Hagle was scrupulously attentive and responsive on the piano.\u201d \u2013 New Haven Register<\/em><\/p>\n \u201cThe playing level proved to be high indeed. This was reflected \u2026in the performances of three outstanding American pianists: Roger Wright, Paul Wyse, and Matthew Hagle\u201d \u2013 Piano and Keyboard (review of the 2000 Sydney International Competition)<\/em><\/p>\n \u201cHagle played with unaffected brilliance and profound understanding of Brahms\u2019 structure and architecture. Corraling the master\u2019s fistfuls of notes into elegant phrases and majestic expostulations, Hagle provided the ensemble with a steadfast central dynamo from which to generate fields of musical energy. Rhythmic dependability, guarded exuberance, and a glorious fourth and fifth-finger legato with which to sing gleaming upper-octave melodies above the pulse of the strings indicated the presence of a dauntless Brahms player. To put a piece of this technical magnitude and emotional complexity together in less than a week would have been impossible without a pianist of Hagle\u2019s obvious merit.\u201d \u2013 Springfield (MA) Republican<\/em><\/p>\n \u201c\u2026Matthew Hagle\u2026performed Rachmaninoff\u2019s Concerto #1 with a rare clarity and sweetness.\u201d \u2013 Clavier Magazine<\/em><\/p>\n “Matthew Hagle was more than able in sonatas by Beethoven and Richard Strauss, playing with clarity, power and compelling musicality.” – Rutland (VT) Herald<\/em><\/p>\n “Pianist Hagle was terrific throughout this sonata …. The pianist is required to play a great deal of virtuosic material, and he did so with aplomb.” – Palm Beach Arts Paper<\/em><\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":" \u201c From the work\u2019s first thundering introduction replete with virtuosic runs and trills, the tall lanky Hagle reigned over the concerto [Liszt #1]. His solo passages were tender and played with freedom. He used the pedal sparingly, bringing clarity and light to the composer\u2019s frequently dense passages\u2026Hagle displayed the powerhouse technique necessary to bring … <\/p>\n