Press















„Joamets’s sound palette is very rich, covering the almost unheard (but at the same time sonorous!) pianissimo to deafening fortissimo. It is the sound, especially the richness of piano nuances and spiritual passion, which attracts me in the playing of Joamets most. There was impression of almost architectonic sound space: pianist was like hanging the sonorous clouds of sound and colonnades into the air and building the aerial castles of them. Such grasping labyrinth of sounds I have experienced in the play of Arcadi Volodos. /.../ Absolutely fascinated the preludes of Debussy. Here manifested the greatest talent of Joamets: evoking the pictures, smells, touches. The piano, hall, reality – everything flew away, only the flickering, lambent space of sounds remained.” 
(Kadri-Ann Sumera, Sirp, 8. IV 2009)

“Tanel Joamets`s interpretation had fire, technical level and poetic convincingness. Concert was like one deep breath. Pianist walked in his sound and tempo choices sometimes as if on the knife-edge, but at the best moments such risky walking became the poetic raisin of interpretation.”
(Evi Arujärv, Postimees, 11. VI 2002)

“He captivates the listener with his unlikeness. And being natural at the same time. And this is not only the clearness of form and refined details, but how his mind intensely resonates with its inventions. This makes the listeners to follow the flow of thought, they become the participators, not only the spectators. Tanel Joamets has the widest colour-range, from blindingly shining and heavily intense forte to the most refined nuances of piano. That kind of piano, when You keep your breath listening how the soul of music trembles.”
(Karina Kagramanova, Kultura Nr. 34, Moscow, september 2000) 

“Tanel Joamets from Estonia had musical intuition, artistry and technique to burn. He did not need to parade his wares or resort to exhibitionism. His readings of Shostakovich, Scriabin, Rachmaninoff, Part and Debussy were not so much played as evolved, created. His exemplary control combined with both depth and freshness, in a musical world increasingly besotted with performing monkeys, was a relevation.” (Cyrus Meher-Homji, The Australian, June 1996)