New York Times - Anthony Tomassini

December 13, 2011

"Many Prokofiev scores try to contain modernist, sometimes barbaric impulses within Neo-Classical forms, in a harmonic language that for all its dissonance is essentially tonal. That tension came through in the Sonata No. 4, a virtuosic piece that Scott MacIsaac played with brio and imagination.”

cyberpresse.ca - Claude Gingras

July 8, 2009

"Compte tenu des exigences techniques du piano, qui diffèrent entièrement de celles du violon, Scott MacIsaac est tout aussi prodigieux, car la force musculaire qu'il a déployée dans le premier Concerto de Rachmaninov (version intégrale cette fois) est, à 16 ans, celle d'un virtuose aguerri. Le jeune homme ne se limite pas à la puissance sonore: son jeu possède la vélocité, la clarté, le souffle et la musicalité que requiert cette musique"

Recently selected as top 30 hot Canadian Classical Musicians, 2016

http://www.cbcmusic.ca/posts/11704/30-hot-canadian-classical-under-30-2016



Review: Series finale a sweet Viennese serenade

By Kenneth Delong, The Calgary Herald May 11, 2013

 

"...Hello to Calgary pianist Scott MacIsaac, making his debut with the CPO in a subscription concert;


It was a taste of things yet to come.


... the first of the two major works of the evening-the Piano Concerto in C major, K. 467, by Mozart.

This is one of Mozart's most justly popular concertos, and it proved to be an excellent vehicle to display the considerable talents of Scott MacIsaac, a young Calgarian pianist of obvious ability and great promise.


MacIsaac has a natural grace and refinement as a performer.


The musical ideas were well projected, clearly conceived, and delivered with effortless virtuosity.

Taking the first movement at a brisk pace, MacIsaac tossed off the passagework with precision and secure rhythm, giving musical life and shape to the myriad of notes.

The famous slow movement was especially beautiful, the long-breathed lines stretching out the romantic feeling with a just sense of larger span of the music, the music projecting a magical, inward emotion.

The finale, taken very quickly, was filled with wit and playfulness, making a smiling conclusion to a very special, very Mozartean performance of the concerto."

 


 

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