“Vanhauwaert is a cool customer at the keyboard. … his impressive clarity and sense of structure — to say nothing of a monster technique — provided an often startling immediacy to all his sure fingers touched.”

L.A. Times, December 2007.

 

“With his marvellous interpretation of the masterpieces by Chopin, Schubert, Schumann and Liszt, Mr. Vanhauwaert displayed innate musicality and and a superb devilish technique. His personal introduction to every piece in the program revealed a thoughtful and intelligent musician. The piano devil truly won the hearts of the sold out music crowd in Qingdao.”

Qingdao Culture, China, June 2010.

 

“His youthful appearance belies a confident ease at the keyboard and makes his graceful power all the more surprising. Vanhauwaert was reviewed here recently after an astonishing performance at Santa Monica’s Jacaranda.”

Nancy Cantwell, Times Quotidian, May 2013.

“The program as played by Walz and Vanhauwaert was one of the most surprising and revelatory of the season.”

Ted Ayala, Crescenta Valley Weekly, May 2015.

 

“After intermission, the Dvořák Piano Quintet experienced an infusion of blazing energy, thanks to the piece itself and to the presence of pianist Steven Vanhauwaert. Vanhauwaert is a marvel. Possessed of dazzling fingers and an innate musicality, his contributions are invariably clean, crisp and to the point. He played well off of the other instruments, supported where appropriate, and took the spotlight with elan when called upon.”

Jim Ruggirello, Gazette, May 2015.

“There were two revelations at Le Salon de Musiques’ “La Belle Époque,” the seventh concert of its fourth season: Pianist Steven Vanhauwaert and Ernest Chausson’s Piano Trio in G minor Op. 3. … I have never seen and heard at a salon piano playing as transplendent as that of the indefatigable Mr. Vanhauwaert. Certainly he had the heaviest burden as he performed in all nine pieces, but his clarity, restraint, thoughtfulness, tone, character, and unencumbered fingerwork kept me spellbound. … Vanhauwaert executed the rich and virtuosic piano writing beautifully.”

Tony Frankel, Stage and Cinema, April 2014.

“Steven Vanhauwaert playing the upper half of the keyboard (most of the time) and Danny Holt performing at the piano’s Bass end, gave a tumultuous rock and roll performance that brought the house down. They made the piano rage, shout, sigh and cry with mystical longing. They readily achieved the furor and freshness that audiences felt when they witnessed Stravinsky and Debussy at the piano performing this iconoclastic work. This stunning piano version of Stravinsky’s masterpiece, coming at the end of a long evening, was worth waiting for.”

Ahdda Shur, The Examiner, February 2013.

 

“… Zuvor hatten Eliah Sakakushev, Caroline von Bismarck und Steven Vanhauwaert das monumentale Klaviertrio a-moll op.50 Èlegiaque“ von Peter Tschaikowski präsentiert. Es ist im Gegensatz zu der unterdrückten Dramatik des Klavierquintetts von Schostakowitsch ein Höhepunkt elegischer Stimmungsmalerei in der romantischen Kammermusik. Die drei Künstler konnten ihre Ausdrucksfähigkeit in allen Stimmungsbereichen, vom Ele- gischen über Verspieltes bis hin zum Grandiosen, unter Beweis stellen und bekamen ebenfalls sehr viel Applaus “

Ulrike Langer, Fränkisher Tag, July, 2013.

“…Belgian pianist Steven Vanhauwaert, a superb performer, opened [with] Copland’s Sonata for Violin and Piano, a lovely statement to the purity of Copland’s writing…”

Cathalena Burch, Arizona Daily Star, November 2008.

 

“Rachmaninoff sonata occupies a place among the great cello sonatas of Beethoven and Brahms even though it is technically a sonata for cello and piano. The piano is equal to the cello, and, as one might guess about a work for piano by one of the great piano soloists of all time, the piano part is extremely difficult. Vanhauwaert not only handled the technical demands with apparent ease and aplomb, the timbre of his playing perfectly matched that of Walz’s cello. His playing evidenced both technical skill and remarkable musicianship.”

Henry Schlinger, Culture Spot LA , May 2013.

“…breathtaking…a ballet of bodies and fingers working in perfect unison to spectacular ends.”

Nancy Cantwell, The Times Quotidian, April 2013.

“…Antonio Lysy partnered with equal grace on the piano by Steven Vanhauwaert, both artists created a mood, enunciating the austere and spiritual essence of Bach’s work, before changing over to the robust and romantic style of the Schumann piece. for the USA premier of Scharwenka’s Piano Quintet om B minor, they together a first-rate ensemble, consisting of international and nationally recognized musicians: Gullaume Sutre, 1st violin, Searmi Park, 2nd violin, Helen S. Callus, viola, along with Antonio Lysa, cello, with Steven Vanhauwaert on Piano. These great artists gave an impassioned, committed and flawless performance of Scharwenka’s gorgeous music. The piano’s role was mainly supportive, with some beautiful solo moments in the Adagio of the 2nd movement, played with consummate musicianship by pianist, Steven Vanhauwaert.”

Ahdda Shur, The Examiner, January 2013.

 

“Vanhauwaert’s performance of Mozart’s concerto KV 482 was, quite simply, a joy to hear. Playing on a Shigeru concert grand piano, the soloist’s fingers seemed to dance across the keys. Probably the most notable characteristic of Vanhauwaert’s playing was his sense of rhythm and timing. He was not afraid to use silence to his advantage, especially in the cadenzas. Though some passages appeared to be nonstop notes, he flew through them steadily and gracefully, with no sense of repetition.”

Keila Huss, Daily Breeze, November 2010.

 

“The winner of the 2004 International Franz Liszt Piano Competition made his China debut at the National Center for the Performing Arts (NCPA) Tuesday evening, dazzling the audience with his talent and good looks.”

Chu Meng, Beijing Today, China, June 2010.

 

“…two dazzlingly young pianists — Steven Vanhauwaert and Danny Holt — to exhibit something of Liszt’s flamboyant keyboard side.” “…what fun the virtuosity of Vanhauwaert and Holt.”

Mark Swed, LA Times, April 2011.

 

“…superbly accompanied by pianist Steven Vanhauwaert’s delicately calibrated touch. … generated an alternately poetic and earthy intensity, never losing the work’s propulsive rhythmic impetus. The pianist’s clarity in playing softly (the piano lid remained open) blended sensitively into the opulent fabric created by his partners.”

Rick Schultz, LA Times, February 2012.

 

“Steven Vanhauwaert, sensitively varied tone and dynamics for all three works. Vanhauwaert’s effortless technique, well balanced tones and emotional power were especially evident in Chopin’s music as he partnered Shulman’s elegiac performance.”

Ahdda Shur, The Examiner, April 2013.

“Taking the wheel for Picker’s “Old & Lost Rivers,” Vanhauwaert displayed his precise control amid the ebb and flow of wandering melodic lines, which ended with a deliberate whisper. Joining forces, Vanhauwaert and Holt treated the audience to a performance of Satie’s provocative “Parade,” an absurdist ballet originally created with Pablo Picasso and Jean Cocteau. In slapstick comedy argot, Satie (along with Holt and Vanhauwaert) took the powder and left the listeners holding the bag. Fortunately, the audience was amused. At intermission audience members couldn’t stop talking about the Parade.”

Sean Fitz-Gerald, LA Magazine, June 2012.

 

“Scharwenka would probably be too busy keeping his head from spinning in delight over the superb polish, technique, and expressive nuance of the Salon de Musiques musicians. Had you never been told that this was a US première, you would likely have thought that the Piano Quintet was an old friend of these musicians. I’m not sure how much time the musicians had to live with the Scharwenka. It doesn‘t really matter. The players – Guillaume Sutre (first violin), Searmi Park (second violin), Helen S. Callus (viola), Antonio Lysy (cello) and Steven Vanhauwaert (piano) – utterly conquered this rich score. The playfulness at certain points, the exhilarating sense of risk – all of these were hallmarks of musicians for whom the score had ceased to be merely notes to be memorized, and had become flesh of their flesh.”

Ted Ayala, Bach Track, January 2013.

 

“Let us now praise the Felici Trio which with the orchestra lifted Beethoven’s “Triple Concerto in C Major” even beyond its inherent merits. It was clearly the audience favorite and earned a standing ovation. The fluid interaction of Belgian pianist, Steven Vanhauwaert, German violinist Rebecca Hang, and American cellist Brian Schuldt was beauty to behold.” “…Vanhauwaert’s silken piano tone and unbelievable ease on formidable passages…”

Becky Ball, The Oak Ridger, April 2012.

 

“The evening concert that then followed provided a satisfying and truly memorable conclusion to the conference. In the first half, Vanhauwaert performed Ullmann’s Piano Sonata No. 7. Like many others in the audience, I had heard the sonata several times before but never in such a riveting and persuasive interpretation.”

Julianne Brand, The Orel Foundation, Jan, 2013.

 

“The Poulenc was lovely…the Fauré was magnificent — a true and confident conversation among the instruments…”

Marc Porter Zasada, L.A. Opening Nights, Feb 2012.

 

“…Steven Vanhauwaert and Danny Holt created a sensation at Jacaranda in their four-hand version of Stravinsky’s Rite of Spring. … performed impressively.”

Rodney Punt, LA Opus, May 2011.

 

“…Pianist Vanhauwaert’s nimble fingers and light touch, with the added grit and energy from Tsan’s cello were the perfect foil for Stanislav’s piquant violin… Pantoum Trio achieved beautiful balances in the Schubert, highlighting its gentleness. In the Mendelssohn, Vanhauwaert’s sparkling keyboard clarity and startling glissandos only enhanced the determined playing by Stanislav and Tsan. The after-intermission Ravel, given the French composer’s Asian or Chinese garden inspired harmonies, kept the afternoon chamber performance keenly sharp.”

Bill Peters, Peters Music News, Sep 2012.

 

“…stellar ensemble work.”

Diane Eagle, Mammoth Times, July 2009.

 

“…remarkable… Vanhauwaert and Robson could give such exuberant and sensitive accounts of both scores. Mozart’s robust, inventive Sonata became a perfect vehicle for these superb pianists, whose resonant ensemble playing sounded like a mini-orchestra. They conveyed a galloping energy in the work’s outer movements. The pianists gave an uninhibited, richly sonorous reading of Rachmaninoff’s enjoyably florid neo-Romantic early Suite. The performance was capped off by their joyously pealing bell effects in the “Russian Easter” finale. … Sunday’s piano-duo recital was really buzzing.”

Rick Schultz, LA Times, May 2011.

 

“…Vanhauwaert and Holt tore into this piece like furies, undeterred by daunting challenges. It was a performance at turns propulsive and precise, aggressive and tender. What aplomb these two demonstrated!…”

Rodney Punt, LA Opus, April 2009.

 

“…He mastered it completely. He made the most difficult passages look effortless. Arpeggios and running notes on the piano were played with great clarity of tone. The pianist never overshadowed the string players, so that all three voices were heard clearly. In this performance there was superb ensemble work”. “… demonstrated superb musicianship throughout, and each musician listened to the other, creating true chamber music at its best.”

Nancy O’Connell, Independent News, Nov. 2008.

“Steven Vanhauwaert was the pianist, a young man from Belgium who has carried off several piano-competition prizes and played on Sunday afternoon as though he deserved them all.”

Alan Rich, LA Weekly, Dec. 2007.

 

“Steven Vanhauwaert, 26 ans, reprend ensuite les choses en main avec une Ile de feu de Messiaen tres maitrisee et un Chopin rapide et elegant. Debussy n’en revele pas moins un musicien inspire et imaginatif, impression confirmee avec la sonate No. 4 de Scriabine, dotee, en finale, d’une extraordinaire energie.”

Martine D. Mergeay, La Libre Belgique, May 2007.

 

“…incredibly talented young artist Vanhauwaert performed several works by Liszt. His beautiful performance of the Transcendental Etude Nr. 12, Chasse-Neige provoked standing ovations, which lead to a very sensitive encore by Schumann. Hats off.”

Ferenc Czene, American Hungarian Journal, Feb. 2005.

“…All I know for sure so far is that musicians I have come to trust and admire: Jacaranda’s Denali Quartet plus the pianist Steven Vanhauwaert have given the work a serious and devoted performance…”

    Alan Rich, LA Weekly, 2008.