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A note from Nathan:

“I send all the best to everyone at this difficult time. The more people I speak to, especially fellow artists, the more stories of real hardship and struggle I hear. But we do see some positives – a renewal of team and collaborative spirit, the sound of birdsong on every street corner and I realise what is more precious to me as a musician than anything: TIME.

I hope that we will be enjoying and appreciating wonderful music together in concert halls soon. In the meantime, I would like to share with you the 3rd Movement from Beethoven’s 3rd Piano Concerto, taken live from the Beethoven Festival in February with the Prometheus Orchestra and conducted by Edmond Fivet.

Like a recap in a Sonata Form movement, our resumption of normal life cannot simply be a repeat of the way things were. We cannot go back. We have all changed. I hope that you can hear thing music in a different light and be uplifted.”



Nathan performs all 5 Beethoven Piano Concertos throughout 2020, including a complete cycle with the Prometheus Orchestra and conductor Edmond Fivet at Aldeburgh and Snape Maltings.

The first four concertos were performed with the Prometheus Orchestra in one marathon weekend back in February.

Donald Sturrock – Writer, TV film producer and librettist

“Nathan’s reading of the [3rd concerto] was wonderful. I loved the tenderness and the rhetoric and the improvisatory qualities he brought to his playing. Power, vulnerability and a sense of spontaneous invention are essential for great Beethoven performances and Nathan had all of these, combined in something that was beautiful, elegant, heartfelt and thrilling. That concerto often misfires in performance and I think few soloists properly have the intellectual and emotional equipment to forge a unified vision out of it. Nathan did. It was a total joy to hear Nathan’s subtle, touching and yet thoroughly grand performance.” 

Nathan and the Prometheus Orchestra will be back for the concluding ‘Emperor’ Concerto in October (Saturday October 10th, 7:30pm, Snape Maltings).



During the next 12 months Nathan and tenor James Gilchrist will record a cycle of three CDs of British music from 1912 to the present day for SOMM Recordings, beginning with unpublished songs by Holst, and songs by Gurney, Clarke and Frank Bridge and moving through to songs by Nathan, John Woolrich, Geoffrey Poole, Peter Dickinson, and Madeleine Dring. CDs are expected to be released periodically from early 2021. More to follow…



‘Colour and Light’ on  SOMM-Recordings

Delius: Nocturne, Prelude and Duet; Peter Dickinson: Paraphrase II; William Alwyn: Twelve Preludes; Elisabeth Lutyens: The Ring of Bone; Anthony Herschel Hill: Litany and Toccata (premiere recordings).


Bryce Morrison – International Piano Quarterly (CD of the month)

‘No praise could be high enough of Williamson’s performances, where, as in his previous discs of Brahms, Schubert and American piano music his conviction is palpable, making you long to hear more. Whether in the dream-world of the Delius Nocturne or in the fire and ice of the Herschel Hill Toccata, Williamson unearths musical treasure beyond price’.

Jed Distler – Gramophone

‘The eclecticism and stylistic contrasts on Nathan Williamson’s newest release reveal this pianist’s knack for conceiving intelligent and freshly minted playlists of relatively unfamiliar yet worthy repertoire… A stimulating and provocative release.’ 

James Palmer – Musical Opinion

‘Nathan Williamson’s earlier SOMM CD of Great American Sonatas made a considerable impression and he follows that success with another disc of distinction in choice of music and performance. … Williamson raises the stakes of musical appreciation with little-known but superb music…’

Will Yeoman – Limelight Magazine, Australia

‘All are played by Williamson with that variety of confidence and sensitivity, in regard to form and content, that only another composer can guarantee.’ 

Michael Quinn – Classical Ear       

‘Fleet, felt playing, by turns concentrated and free (supported by his excellent booklet notes and a well-framed recording)…’

Stuart Sillitoe – Music web International

‘Nathan Williamson’s playing is excellent throughout. He rises to each of the challenges posed by the diverse compositional styles, and surpasses them with aplomb… Williamson’s booklet notes are also excellent, informative and succinct, and prove to be the ideal introduction to this music… A worthy addition to any collection of twentieth century British music.’