The British pianist is touring Australia, has two CDs on release and has written his first novel. As well as discussing the priesthood, he talks to Limelight about dreams, Debussy, Rachmaninov and rentboys.

Get your copy of Limelight Magazine's June 2018 edition featuring Anne-Sophie Mutter, Scott Rankin, Jessica Pratt and some of Australia's finest chamber ensembles.

The June 2018 issue of Limelight Magazine features Queen of the Violin, Anne-Sophie Mutter on Tchaikovsky, Star Wars and stalking Daniil Trifonov.

From pagodas to cakewalks, Hough taps into Debussy.

Elena Kats-Chernin likes Michel Legrand and Michael Kieran Harvey likes Living Colour. Could speaking about pop remove barriers?

Sergio Tiempo is Artist in Residence, with Stephen Hough, Jean-Efflam Bavouzet and Bernstein’s 100 among the highlights. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

The Scottish violinist has given an interview defending classical music audiences and the genre's importance.

Steve Davislim's Tito will also be among the highlights to catch the ears of Aussie audiences.

Stephen Hough chats to Limelight’s editor about Aussie audiences and why chefs may be as important as conductors. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Pianist Stephen Hough has won Limelight’s International Artist of the Year 2016. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Schumann’s Piano Concerto is a Romantic warhorse (albeit a very charming one) but Dvořák’s is largely unknown, despite being championed by Firkušný and Richter (accompanied by Kleiber) who restored the original version. Will advocacy by a pianist of Hough’s eminence convince people it’s a neglected masterpiece? Don’t expect any sublime ascents into the sunlit uplands or exhilarating ‘travelling tune’ allegros in the symphonies. Much of the Concerto falls between two stools: Hough has written about the “fiendish difficulty” of the solo part, although you’d never think so from his blend of heroic power, insight and finesse. There’s little overt bravura or man versus piano writing. The slow movement has moments of blissful repose but it’s only in the Finale that we recognise Dvořák’s hallmark earthy energy. It’s not first-rate Dvořák, but it’s interesting and worth the price of the CD. The Schumann is an almost complete contrast: highly pianistic writing and a lyrical meshing between soloist and orchestra. There are many felicities in Hough’s reading, from the first movement’s ruminative passages (where I greatly prefer Hough to the more youthful impetuosity of the recently released Lisiecki) to the… Continue reading Get unlimited digital access from $4 per month Subscribe Already…

An all too rare piano recital packed with intellectual insight as much as technical thrill and adventure.