“Grieg often writes about artists who either do or do not 'realize his intentions' in the way they perform his music. You clearly do, and I feel sure that the master himself would be pleased with your playing of his works."
- William Halverson,
translator/compiler of Grieg's letters

Audiences and reviewers have described Sandra Mogensen’s playing as 
heartfelt and mesmerizing, bold and brave, yet exquisite and delicate.

Pianist Sandra Mogensen is equally at home in two worlds: performing as a solo pianist and co-performing with singers in recital. She has played in concert in both capacities in Canada, the United States, Denmark, Latvia, Norway, and Austria.

Since 2006, Sandra has specialized in the music of Edvard Grieg and other Northern European composers, resulting in the release of a trilogy of recordings of the Piano Music of Edvard Grieg on the Chestnut Hall Music label.

Sandra focuses on creating performances and curating programs that engage the audience through innovative programming ideas, a range of varied repertoire and deeply felt expressiveness, sensitivity and passion. Her recital programs and her recordings carry the listener on a journey through contrasting musical styles and/or characters, while maintaining a satisfying unity and flow throughout.

Ms. Mogensen has a great passion for things poetic. Exposure to the German Romantic poets at an early age led to her deep love of art song. She finds working on musical settings of poetic texts and experiencing an entire world in a three-minute song, to be some of the most rewarding parts of being a musician. Sandra’s interest in and affinity for learning other languages also finds expression in her work with this genre of music. Sandra’s first CD recording was of Schubert’s cycle of 24 songs, Winterreise, with bass Paul Sketris. Sandra’s love of poetry also influences her approach to the piano, always searching for the expression of imagery, colour, and drama.

Sandra is drawn to the music of recent and living composers, as well as jazz and the art of improvisation. She is excited to be currently developing programming ideas in order to reinvent and reinvigorate the recital format and heighten the listener’s experience of connection, relevance and meaning. Exploring the use of visual elements and improvisation, reorganizing the typical recital structure and reexamining conventional recital practices form the basis of this evolving work.