“Patrick is unusual.
He seemed in his characterful and exhilarating playing, to wilfully exist on the creative fringes of the only just possible and to set up a musical momentum that shared his experience of timeless, irresistible passion with his mesmerised, appreciative audience.”
Stella Seaton-Sims

Such was the superb stylistic and commanding performance of the Chopin Studies today I would have sworn it was Guiomar Novaes, Nikita Magaloff or Nelson Friere instead of a certain Monsieur Hemmerlé ! …
Completely bowled over by the beauty and totally absorbing musicality I was not even aware of the transcendental difficulty of these revolutionary pieces for piano….
What can one say. I am tempted to use Schumann’s own words on the first appearance of Chopin in Paris: “ Hats off gentlemen a genius”.
You see miracles can happen and today in Perivale it certainly did!
…overwhelming passion that I have only once heard from another pianist.That pianist was Annie Fischer and it has remained with me for over 30 years as I am sure the recital today will too.
Christopher Axworthy

“One cannot only be amazed at the technique of this young pianist, his stamina and his musical memory as he performed for over one and a half hours without music and without a stumble. Though, like all the audience I was in awe of his technical accomplishment, it was the moments of repose that stood out for me as Hemmerlé delicately controlled the piano creating a warmth of tone and beauty. The 24th Variation (Fughetta) in the Beethoven and the third “Etude” by Chopin were quite sublime and I didn’t want them to end.”
JCG, Keswick

“Hemmerlé began the evening with Debussy’s Préludes whose exquisite imagism he beautifully transmitted throughout the entire recital…Versatility was never in question either from a spellbinding diminuendo in movement 10 ( Canope) to the virtuosic achievement of the finale, the fiendishly difficult Feu d’artifice…”.
“… at times Hemmerlé was visibly transported. Who couldn’t be? The music had cast its spell and his transfixed audience was loud in its acclaim as it called for more. It is devoutly to be wished that Patrick will return to the festival.”
John Gilroy. 

“Last night’s piano recital by Patrick Hemmerlé was astonishing. Such a privilege to listen to such artistry”
David Hill. 

“… an especially talented pianist with flair and style. A pianist to watch out for.”
Bertrand Boissard. 

The Society has brought many fine musicians to Ely and Patrick Hemmerlé must be one of the finest. This phenomenal pianist received his training in France and his understanding and appreciation of French music is breath- taking. Many of the works were popular items that have been played at concerts many times but Patrick outshone any performances I have heard.”
Rosemary Westwell.


This is an ambitious programme that Patrick Hemmerlé, a young French pianist based in Cambridge offers us; ‘Pan,’ an extensive tone poem by Czech, Viteslav Novák (1870-1949), a pupil of Dvorak at the Prague Conservatoire, and La Neige, in two parts by the Russian composer Tchesnokov ( born 1982). It is not the least of the merits of Patrick Hemmerlé that he makes us discover or rediscover the masterpiece of Novak, a piano monument of nearly an hour. It has a prologue that contains the germ of all the further developments, in the following four movements brief titles: The Mountain, The Sea, The Forest…
The whole, shimmering, is unified by a melodic motif of five notes that provides the essential compositional material. We feel here a perfect mastery of the large form; listening is structured by a cyclic principle as in Franck, ideas abound but do not fragment. Stylistically one is on the border of romanticism and modernism; if certain harmonies are devilishly Debussyesque (empty fifths, whole tone scale…), they soon cede to Lisztian flights. Mountain nobility, symbolised by a hymn-like and majestic theme; agitated swell of the sea, which sees a surge of chromatic octaves; poetic dreams of the forest: all here is homage to nature. La Neige marvellously completes this world-work: it contains ,natural inspiration, unlimited virtuosity ( the two works describe less an immaculate landscape than a storm of whirling flakes), the all romantic eloquence of the piano, sprinkled with a soupçon of the minimalism of Philip Glass. The commitment of Patrick Hemmerlé is perceptible from beginning to end of the disc; his impeccable technique and his musicianship serves to perfection these two works so little known.
Sarah Leon, Classica

A mystery: the music of Roger-Ducasse remains the best kept secret of French music, only known by a handful of musicians who know its beauties. One probably needed this disc to fully reveal all its splendours.This music needs a poet, and a damn good pianist. Patrick Hemmerlé, on a magnificent Bechstein, clarifies all the complexities, throws myriads of notes as scintillating stars, sculpts the rhythm, opens this enclosed world to a garden in the wind. He also composed his programme perfectly, only picking out the masterpieces of this composer I am still in the process of discovering. Impossible not to be fascinated by this vampiric disc. 
Jean-Charles Hoffelé, Artamag

Patrick Hemmerlé has embarked on a Roger-Ducasse series of which this is the first volume. Whether he, like Martin Jones on Nimbus (NI5927), will extend this to three volumes to include works for two pianists remains to be seen, but he has made a formidable start here….Given a fine recording, Hemmerlé is going to be well worth following in this series. He has absorbed the stylistic elements at work in the music and has the technique to cope with its often extreme demands.
Jonathan Woolf, Musicweb

French pianist Patrick Hemmerlé offers three sets of variations on or by Schumann.
Viteslav Novák’s variations (on Schumann’s Op 68/34, from Album für die Jugend) are ghorgeous: although he was still as student at the Prague Conservatoire when he composed it. Novák’s work exudes life and is beautifully constructed. Hemmerlé’s performance is wondrous, his piano well prepared and recorded. The finale is gloriously exploratory, radiant in its use of upper registers: this is a stunning piece well played.

The Brahms is based on the fourth of the Bunte Blätter Op 99 – also used by Clara Schumann for her Op 20. Written in the shadow of Schumann’s attempted suicide, Brahms’ Op 9 is prfound and concentrated. Hemmerlé sustains the legato and sparse textures superbly. The Symphonic Etudes (1834 version, with two posthumous variations) exudes a superb sense of power. A phenomenally interesting disc, performed with real musical maturity.
International piano

The Pan fresco, a 55 minute “sound poem” composed in 1910 by the Czech Vitezlav Novák (1879-1949) is a rare work, hardly better known in its orchestral- later version. A kind of Daphnis and Chloë without all the Ravelian magic but animated by a long and deep flow, quite bewitching, if we let ourselves be enveloped by the ramifications of this ode to nature.
Born in 1981, the pianist Patrick Hemmerlé impresses with his mastery of musical flow and seduces with his way of managing tonal sonorities.

The French pianist Patrick Hemmerlé, who was born in Kuala Lumpur and currently lives in Cambridge, has embarked on a series with IndeSens, entitled ‘ Piano Modern recital’. The first issue begins with the tone poem ‘Pan’ by the Czech composer Viteslav Novák (1870-1949). Novak also produced an orchestral version of this piano,piece and both versions have been recorded several times before. The work oscillates between delicacy and passion, and in this recording by Patrick Hemmerlé is played very evocatively, as the pianist gives full expression to its bold harmonic developments.

… Hemmerle’s sympathetic playing is a joy, and in an album that is clearly a labour of love, has completely won me over. 
Simon Mundy for Classical music magazine