Ludwig van Beethoven

“The pure, fresh-toned soprano, Genia Kuhmeier, matches the ripe-toned horn-player, Wolfgang Tomboeck, in the warmth and imagination of her phrasing.” Penguin Guide, 2010 edition ***

“could be a Beethoven piano-sonata cycle that challenges the very notion of playing this music on modern instruments, a stylistic paradigm shift.” (Fanfare)

"He [Moiseiwitsch] stands grander, traditional virtues on their head, replacing thunder and solidity with aristocratic rhetoric. Few pianists have responded to terms such as leggierement with a more winning charm. …nothing can dim the lustre of either performance. We can only beg Naxos for more Moiseiwitsch, especially in Beethoven and Chopin.” The Gramophone

“By any standards he is one of the leading pianists of our time, a player of astonishing technical gifts and penetrating musical intelligence.” (The Guardian)

“Fine performances of two of Beethoven's seriously undervalued works.” BBC Music Magazine, August 2009

“Listening to the opening tutti on this joyful new Triple Concerto, you can just picture Nikolaus Harnoncourt cueing his strings, perched slightly forwards, impatiently waiting for that first, pregnant forte. This is a big, affable, blustery Triple, the soloists completing the sound canvas rather than dominating it, a genuine collaborative effort.
So beside the Beethovenian strut to this performance there's poetry too. Yet thoughtfulness never spells timidity; Hagen and Thomas Zehetmair throw caution to the winds near the end of the first movement. The Concerto's Largo is simplicity itself, rather like a song without words, but it's the finale that is likely to raise the most smiles, a rumbustious affair, uninhibited without coursing out of control. Harnoncourt and his team go for the burn, always brilliant but, more importantly, full of character and humour.
The fill-ups (like the Concerto, recorded at concerts in Graz) are hardly less engaging. The little B flat Rondo is bubbly from the start, Aimard and the orchestra maintaining a feeling of chamber collaboration. And then the ChoralFantasia, so often clunky on disc but here aided by Aimard's sense of style – his arpeggios in the long opening solo have so much colour – and by Harnoncourt's relaxed approach to the music that follows, each variation imaginatively tended within a larger framework. The singing is excellent, the sound both warm and realistic. As 'feelgood' Beethoven programmes go, this is about as enjoyable as it gets, though a high level of musical insight further enhances one's pleasure.” Gramophone Classical Music Guide, 2010