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With his own composition entitled “Dance”, Hudson played freely after intemission: effective technique such as aggressively played chords, sweeping arpeggios, and pronounced rhythms gave the overture for the Brahms Intermezzo Op. 118/2, which Hudson handled with skilled agogic freedom and suitable proportions, giving even the softest passages contour while avoiding romanticizing.  He was convincing in the three technically demanding pieces from Stavinsky’s “Petroushka”.  Hudson applied his energy concentrated and discreetly: powerful virtuosity was paired with philosophic peace.  Hudson had worked out an ingenious, well-thought-out interpretation.

Frankfurter Allgemeine Zeitung

The tenor…sang expressive Lieder by Hugo Wolf.  The carefully-studied German diction, his winning personality and, not least, the pleasant timbre of his voice were pleasantly received.  At the piano, the tireless William A. Hudson proved that mutually creative Lied accompanying is also his thing.

Frankfurter Allgmeine Zeitung

In his rendition of the Brahms Intermezzo, op. 118/2 pianist Andrew Hudson conveyed impressively the lyrically resigned tone, in spite of the somewhat unsatisfactory piano.  He was also pianistically brilliant with his own composition: his “Dance” functioned as a South American-Russian amalgam with characteristics of an occasionally grotesquely distorted Tango seen through the eyes of Prokofiev.  Moussorgsky occasionally  seemed to sound through.  The pianist continued as a chamber music partner…in a “Suite” from darius Milhaud, whose expressive spectrum between exalted enthusiasm and a sigh of salon-like sultriness the trio realized brilliantly.

Frankfurter Allgemeine Zeitung

He showed himself up to the different styles, beginning with a cleanly articulated Händel-Suite, then a very expressive, perhaps a little too drawn-out Brahms-Intermezzo, to the three furious pieces from Stravinsky’s “Petroushka”.  His own composition: quite effective, and American through and through (Bernstein says hello!).  With a “Song” by Walter Sam Hartley and “Five Exotic Dances” from Francaix, Hudson showed himself  to be a sensitive accompanist.

Neue Presse

With his own composition, Hudson played so freely after the intermission that the following Brahms-Intermezzo op. 118/2 and especially the three Pieces from Stravinsky’s “Petrushka” -music excitingly virtuous and captivating-were successful.

Die Neue Ärtzliche Allgemeine Zeitung für Klinik und Praxis

In the concerto by Brahms, Hudson showed considerable poise as a soloist: strong, confident and enthralled.  From beginning to end, his performance was the concert’s most engaging.  Quite simply, Hudson… may be the one to watch.

Winston-Salem Journal