Swiss-born American pianist Gilles Vonsattel is an artist of extraordinary versatility and originality. He is the recipient of an Avery Fisher Career Grant and the Andrew Wolf Chamber Music Award, and winner of the Naumburg and Geneva competitions. Vonsattel made his Boston Symphony (Tanglewood) and San Francisco Symphony debuts, and subsequently performed recitals and chamber music at Ravinia, Tokyo’s Musashino Hall, Wigmore Hall, Bravo! Vail, Music@Menlo, the Gilmore Festival, the Lucerne Festival, and the Munich Gasteig. His New York solo recital was hailed as “tightly conceived and passionately performed…a study in intensity” by The New York Times.

Recent projects include Bernstsein’s “Age of Anxiety” with the Munich Philharmonic and Kent Nagano, Berg’s Kammerkonzert with the Orchestra della Svizzera Italiana, a tour with Jörg Widmann and the Irish Chamber Orchestra, Mozart concerti with the Vancouver Symphony and Florida Orchestra, and performances at Seoul's LG Arts Centre and at the Beijing Modern Music Festival.

Posted: Nov-13-2017
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Vonsattel was chosen as the recipient of the 2016 Andrew Wolf Chamber Music Award by Bay Chamber Concerts in Maine.  The recipient is chosen based on anonymous nominations and must be a pianist under the age of 40 who has become influential in the world of chamber music.  Of Vonsattel, Artist Director Manuel Bagorro said, "Gilles has a rare combination of gifts. This includes a wonderful technique and superb musicianship, of course. But it also includes that rare ability to show unique musical personality while at the same time supporting and encouraging the voices of others in a chamber music ensemble. We are thrilled to present Gilles on our Summer 2016 concert series.”  

Posted: Jan-13-2016
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This music draws incredible strength from the violent intersection of an overpowering will to live and the inevitability of death. First comes hope, tenderness, magical and miraculous flights. Followed by sarcasm, irony, revolt. And finally nostalgia, sluggishness, despair, and the hopeless aspect of an opaque hereafter with no return. As Shostakovich himself said, « If you play my music well, flies should drop dead. » The despair that grows ceaselessly throughout his work can become unbearable – it must be experienced in concert.

Posted: Dec-22-2017
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"New to most of the audience would have been Frederic Rzewski’s Winnsboro Cotton Mill Blues for piano solo from 1978-79, an extraordinary evocation of the continuous and invasive sound of the cotton gins rumbling in the lowest registers. while slow blues chords could be heard higher, slow, sinuous, sensuous. Gilles Vonsattel played this virtuosic work, leaving an indelible feel of the factory floor."

— The SunBreak
Posted: Apr-2-2018
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Posted: Aug-16-2018