“. . .vividly played.”
(The New York Times)

“… the first piece [gave] the soloist, Michael Hey, the opportunity to show his talents. Mr. Hey performed admirably, playing without a score in front of him and making the music seem improvisatory in the way that Handel might have played it.”
(Seen and Heard International)

“[Michael Hey blew] the dust and cobwebs out of the under-utilised pipes of the great Esplanade Klais organ. And he did it with relish, spicing things up with a wonderfully easy stage manner. He also tried to lighten Bach’s somewhat heavyweight G Minor Fantasia and Fugue with imaginative registration and flutterings of the swell pedal. This could have sent purists into paroxysms of rage, but it did much to captivate the Singapore audience. Best of all, he gave a glittering performance of Bach’s Wachet auf. It was crisp, clean, and enticingly communicative. A scintillating account of Scherzo Symphonique by the French composer Pierre Cochereau afforded Hey the opportunity to display not only his tremendous virtuosity, but also his fluent command of the instrument, as stops were pulled out and pushed in in a kaleidoscopic demonstration of the organ’s colours and qualities.”
(Marc Rochester, The Straits Times, Singapore, April 2016)


I wanted to let you know that the Michael Hey “Home Coming Concert” last Friday at Carroll College was a great success.  Michael played so well and used the Schantz organ in such a creative and colorful way. He knew his audience well and the spoken descriptions of the music and the personal anecdotes he provided helped to make even the most dense and complex music (like the Reger Chorale Fantasy) accessible and enjoyable for everyone present.  Michael’s sensitive ear and creativity as a colorist certainly came through in his own transcriptions of the Smetana and Debussy pieces.
(Thomas Koester, Carroll College, Waukesha, WI, 2016 presenter)