Ashley Wass

“Rysanov has previously demonstrated that there is far more to the instrument than Romantic brooding, but this disc finds him exploring that cliche...and the playing is utterly sublime, especially Rysanov's delicacy in upper registers and gossamer-like harmonics...The sense throughout is more of fine dark chocolate than sugar, and what (only just) prevents this becoming too sickly is the inclusion of Richard Dubugnon's Lied and, especially, Incanto.” BBC Music Magazine, February 2013 ****

“Rysanov is a remarkable string player; in his hands the viola's distinctive voice is explored throughout its range, with consistently beautiful variations of intensity and tone colour. And he and Wass show great sensitivity in finding the appropriate tempo and character for each item.” Gramophone Magazine, March 2013

“I can congratulate Rysanov for his excellent playing, Dubugnon for at least one really excellent piece, and BIS for once again creating an exciting program blending old and new...[Wass's] contributions are simply phenomenal, with a softness of touch which makes one forget the piano is percussive.” MusicWeb International, April 2013

“Conceived on a large scale and cunningly wrought, Arnold Bax’s Piano Quintet ...is given a vibrant performance by Ashley Wass and the Tippett Quartet, one that does not shy away from the music’s monumental architecture and density of texture but at the same time brings vitality to its Celtic melodic contours.” The Telegraph, 29th October 2010 ****

“Wass and the Tippett Quartet rise magnificently to [the Bax's] challenges, striking the perfect balance between sheer OTT grandiloquence and intense and genuine feeling...this is a thrilling performance with the authentic all-or-nothing flavour.” BBC Music Magazine, Christmas 2010 ****

“At 41 minutes the Quintet may be on the long side but it certainly holds the interest throughout, particularly in a fine performance such as this by the Tippett Quartet and Ashley Wass, who obviously relishes the virtuoso element in the piano writing.” Gramophone Magazine, January 2011

“[The Bax] brings the best out of pianist Ashley Wass and the Tippett Quartet, for they attack Bax's huge, teeming first movement with gung-ho intensity that sweeps all before it, and which they sustain right through the work.” The Guardian, 16th December 2010 ***

“Counfounding the popular view of him as fey rural pastoralist, Bax's Piano Quintet is wonderfully off-the-leash and extreme...The Tippetts choose not to compromise their physical impact, nor Bax's obsessive-compulsive, hard-driven finale...I can't imagine the Bax receiving a more passionate, devoted performance.” Classic FM Magazine, January 2011 ****

“The Piano Concerto of Vaughan Williams has been seriously undervalued… a performance as fine as this one from Ashley Wass will simply have one marvelling at the originality of the piece and its distinctive slant on the idea of a piano concerto.” Gramophone Magazine, December 2009

“Ashley Wass's commanding way with the solo part is beautifully poised in the Romanza, while admirably resisting any temptation to smooth over the Toccata's hard edges. Both in the Concerto and in the more familiar territory elsewhere, James Judd secures orchestral accompaniments of brilliant colour and focus.” BBC Music Magazine, Christmas 2009 ****

“Wass delivers the solo part with impressive command. Outstanding recorded sound.” Classic FM Magazine, July 2011 ****

“Frank Bridge's two piano trios make a natural coupling. The 1907 Phantasie Trio is a prime example of the ruggedly mellifluous chamber style of his early years… The much larger Trio No. 2 (1928-29), on the other hand, is an austere, haunted masterpiece in his later idiom... The players on this new disc, including noted Bridge specialist Ashley Wass as pianist, understand these widely divergent idioms perfectly, and display some superb ensemble playing: their account of the Molto allegro of Trio No. 2 - at once feather-light and sinister - is nothing other than a joy to hear.” BBC Music Magazine, March 2009 *****

“How encouraging to see Ashley Wass branching into Bridge's chamber output – and with such gifted colleagues, too. This Naxos version of the adorable, Cobbett Prize-winning Phantasie Trio is an adroit and boldly characterised affair. The three sets of Miniatures probably date from the following year and comprise nine exquisitely crafted and tuneful morsels originally intended for domestic use. They're best dipped into rather than played at one stretch, but all are dispatched with sizzling panache and evident relish by these elegant performers.
Of course, the masterpiece here is the epic Second Piano Trio of 1929, one of Bridge's most cogent, questing and durable utterances, whose radical language so bamboozled the largely conservative British critics of the period. Wass and company lend it exhilarating advocacy in a realisation of enviable security, unswerving concentration and burning conviction. Tip-top production values and exemplary notes set the seal on an irresistible bargain.” Gramophone Classical Music Guide, 2010

“…the masterpiece here is the epic Second Piano Trio of 1929, one of Bridge's most cogent, questing and durable utterances, whose radical language so bamboozled the largely conservative British critics of the period. Wass and company lend it exhilarating advocacy in a realisation of enviable security, unswerving concentration and burning conviction. Tip-top production values from Andrew Walton and exemplary notes by Andrew Burn set the seal on an irresistible bargain.” Gramophone Magazine, April 2009

“These are important and fascinating discs, which anyone interested in 20th-century British music should hear.” The Guardian, 22nd May 2009 ****

“Ashley Wass's superb sound, as powerful as it is focused and beautiful, suits the music to near-perfection.” BBC Music Magazine, October 2008 *****

“Wass gives outstandingly sympathetic performances throughout and he has been granted eminently ripe and realistic sound. All in all, a most enjoyable CD.” Gramophone Magazine, November 2008

“The Erlkönig Caprice and 'The Last Rose of Summer Variations' (last of the Polyphonic Studies) stretch violin technique to its very limits. Ilya Gringolts surmounts each hurdle with the brilliance and confidence of an Olympic champion.” BBC Music Magazine, August 2008 ****

“The highlight of the disc, however, is surely the Six Studies. Gringolts's technical command, beautiful intonation and exciting, deep involvement with the music make for a great listening experience.” Gramophone Magazine, April 2008

“His playing and his compositions astonished and delighted thousands. His transcription of Schubert's Erlkönig, played here with fiery vehemence by the young Russian violinist Ilya Gringolts, is a demonic tour de force worthy of Pagannini himself” Sunday Times

“It's a treat to be able to hail a new version of comparable charisma and temperament from Ashley Wass….With his immaculate touch, subtle range of colour and commanding technique, Wass draws every ounce of poetry from [the music].” Gramophone Magazine

“Wass achieves the same wonders with Alwyn (1905-85) as he did earlier this year with Frank Bridge…. A charming disc.” Financial Times

“Ashley Wass plays everything with exemplary command, relishing the music's sonority and engaging disarmingly with the nondescript smaller items.” BBC Music Magazine, February 2008 ****

“Wass turns on the magic for this first instalment of Alwyn's piano music” Gramophone Magazine, February 2008

“Grab this irresistible opportunity to explore Bax's two-piano output. …Ashley Wass and Martin Roscoe are outstandingly idiomatic and breathtakingly secure interpreters of all this attractive material and they have been recorded with notable fidelity. A peach of a disc, no question about it.” Gramophone Magazine, November 2007

“…a disc that enlarges one's view of Bax, and that effect is certainly due to the committed and idiomatic playing of Ashley Wass and Martin Roscoe. Their vigour and brio in the Vivo e feroce finale of the Sonata is highly exhilarating, while their sensitivity of touch and pedalling are in display in the murky waters of The Poisoned Fountain. Much to be recommended.” BBC Music Magazine, October 2007 ****

“I need merely confirm that Ashley Wass [is an] outstandingly idiomatic and breathtakingly secure interpreter of all this attractive material [who has been] been recorded with notable fidelity. A peach of a disc, no question about it.” Gramophone Magazine

“…some of the Sonata's radical harmonic language is present in the elusive left-hand Improvisations written in 1918 for Douglas Fox, who had lost his right arm in the trenches. Wass's deeply felt and finely shaded accounts of these pieces, displaying an admirably wide range of touch and dynamics, are probably the best performances on the disc.” BBC Music Magazine, July 2007 ****

“[Ashley Wass] plays the Piano Sonata with an expressive rubato that indicates complete understanding of the language and phrasing, a teasing glow in the slow movement and a sense of anxious searching in the finale.” The Times

“Wass plays with identification and sensitivity, with a delicate touch and resourceful use of pedal to create atmosphere… Bridge enthusiasts need not hesitate.” BBC Music Magazine

“As on his recent survey of Bax piano music for Naxos, Ashley Wass proves a most poetic intrepid and stimulating interpreter.” Gramophone Magazine, June 2006