Richard Fuller

Fortepiano and

Clavichord player

is one of the few who has sought to address himself exclusively to the interpretive potential of the fortepiano - the sensitivity and delicacy of an earlier keyboard culture - and who succeeds in convincingly projecting these qualities to the listener. His work has provided a decisive impulse to the Fortepiano revival in Germany and Austria.


   Born in Washington State (USA), Richard Fuller studied piano and musicology at Central Washington University and the University of Oregon, harpsichord and fortepiano in San Francisco and Vienna. The emphasis of his artistic work lies in the interpretation of the piano, chamber music and the Lied repertoire of the Viennese Classical and early Romantic periods - composers like Bach's sons, J. Haydn, W. A. Mozart, L. v. Beethoven or F. Schubert performed on the fortepiano and clavichord.

   Since 1982, his concert work has led him to the musical centers of North America and Europe where he appears as soloist, accompanist and member of various chamber music ensembles. In addition he has collaborated with such artists as James Levine with the Vienna Philharmonic , Emma Kirkby, Klaus Mertens, Andrew Manze, Thomas Pietsch, the Festetics String Quartet Budapest, Vienna Academy Orchestra, Musica Aeterna Bratislava, the Instrumentisten Vienna.

   Live concerts in radio and television, film music, broadcast productions as well as numerous CD recordings document Richard Fuller’s versatile artistic achievements. At the moment Fuller preapares a recording of the complete keyboard works of the French pianist an composer Hyacinth Jadin (1776 - 1800).

  In 2002, Richard Fuller received from the University of Oregon, the Distinguished Alumnus Award  for his artistic work.


see as well: Richard Fuller & Thomas Pietsch



It is no problem for Richard Fuller to travel with his own fortepiano and to take care of it.   


   Richard Fuller explored every possible aspect of the score; technical brilliance and great sensitivity to the sound characteristics of the fortepiano... opened up new sound dimensions. 

from: Hamburger Abendblatt


   Richard Fuller... a master of sensitive articulation and a brilliant virtuoso.

from: Die Welt


   Fuller played with a superb feel for the fortepiano's tonal possibilities and for how individual moments fit into the larger shape of the piece.

from: The Oregonian, program: works of C. Ph. E. Bach and J. Haydn


   Fuller effectively superimposed a masterpiece of interpretation on a masterpiece of keyboard writing.

from: The Oregonian, program here: Haydn Sonata E-flat major


   TIME TRAVELLING TO MOZART'S AND HAYDN'S VIENNA: There is no doubt about it, Fuller identifies himself completely with instrument and music and easily shows the joy this music has to offer.

from: Die Rheinpfalz, program: works from Mozart and Haydn


   At the end of this evening on could be sure that in today's concerts Mozart quite often is played in a wrong way. Fuller's playing was dramatic and forceful, however it remained always delicate, gracious and unforced - never hard or overbearing.

from: Kurier (Austria)

Programs   4

4 A Musical Dialogue in Three Parts:

Carl Philipp Emanuel Bach & Joseph Haydn:

"That I OWE emanuel bach A LOT"


4e. bach - j. haydn i





4 MOZART  à 3 + 4








Richard Fuller, Fortepiano

- from the numerous recordings with diffrent artists compositions a selection of CD 

  recordings is shown here -


Hyacinthe Jadin

Complete Sonatas for Fortepiano

Palatine 9-0505 (3 CD)


Werke von Ignaz Pleyel

Preiser/Naxos CD 90583

» Richard Fuller is the first who recorded Pleyel's piano works. He plays determinded and sensitive, more or less vigorous than dally. This is very good for the music.

    scoring: interpretation: **** of 5, sound: ***** of 5

    (Fonoforum (Germany))


W. A. Mozart: Klavierwerke

(1) ambitus amb 97 827 

(2) ambitus amb 97 908

(3) Palatine PL 9-0103                

» One of the most remarkable qualities of Fuller’s playing is his range of tonality... Fuller’s love and respect for the grand genious of Mozart is expressed in a tender, rubato-inflected reading of the glorious Rondo in A Minor, and a magistral performance of the courtly Sonata in Bb...  There are tones of Mozart keyboard recordings out there, but this one stands out as especially satisfying.


» The interpretation of the Fantasy  KV 475 (Klavierwerke 2) can only be described as stunning.

    (The Oregonian)


Johann Baptist Vanhal: Klavierquartette, op. 40, 1-3

together with Musica Aeterna Bratislava

1998 Musica Wien, LC 6641

» A piece of gusto for those who love historical sound worlds.

   (Niederösterreichische Nachrichten)


Leopold Mozarts Violine: W. A. Mozart: Sonaten für Klavier und Violine KV 305, 306, 304

together with Maria Bader-Kubizek, Violine

Accantus KHM-CD 20001

» It is a good idea to play the instruments which belong to the  collection of Vienna's museum of history of art, but there are those musicians needed who are able to play them. This is the case here.

    scoring: repertoire: **** of 5, sound: ***** of 5, interpretation: ***** of 5

    (Das Ensemble)

Music Shortcuts

Hyacinthe Jadin: Sämtliche Sonaten für Hammerklavier

Sonate cis-moll, op. IV/Nr. 3

1. Allegro moderato (mp3, 43 s, 528 KB)

2. Adagio (mp3, 34 s, 410 KB)

3. Rondeau: Allegretto (mp3, 33 s, 400 KB)

I. Pleyel: "L'amante disperato" (unpublished manuscript) (mp3, 55 s, 383 KB)

W. A. Mozart: Fantasie c minor KV 475 (mp3, 49 s, 343 KB)
W. A. Mozart: Rondo a minor KV 511 (mp3, 38 s, 265 KB)
W. A. Mozart: Sonate b flat major KV 333: Allegro (mp3, 36 s, 253 KB)
J. B. Vanhal: Klavierquartett Nr. 2 g major op. 40/2 (mp3, 33 s, 237 KB)