Liszt: Erlkönig, S558 No. 4 (after Schubert D328)

“Poetic insights? Moments of repose? Those must wait, if they arrive at all, for the prodigy’s mature adulthood...the piano tone is varied and round, never appearing to have been stamped out by a music-making machine. Another good omen could be the modest, almost casual way that Niu Niu often concludes a piece, rarely emphasising the final chord.” The Times, 11th January 2013 ***

“in purely digital terms, Niu Niu produces some remarkable playing. He has a wonderful leggiero touch when required: the 'Spinnerlied' from The Flying Dutchman is very fine (how good to hear a youngster revive this old favourite)...Niu Niu is able to breathe fresh life into an old chestnut like the Liebestraum No. 3. So - fantastic fingers, bags of potential but, as yet, no charm.” Gramophone Magazine, March 2013

“Given that Niu Niu was only 14 when he made this recording last year, his achievement is remarkable. His equable, rounded tone is underpinned by mature technique...Sometimes a big enough response to the music's soaring flight is lacking...Clearly though, here is a fine musical talent.” BBC Music Magazine, April 2013 ***

“Trifonov's combination of delicacy and fire leaves an indelible impression in this debut recording with the Mariinsky. The Tchaikovsky, scorching and heart-rending but never bombastic, is paired with solo Liszt transcriptions” The Observer, 12th August 2012

“Trifonov has won every top piano competition, and this shows why. His performance of the Tchaikovsky warhorse...is nuanced but not mannered, virtuosic without being showy, and powerful yet not hammered, as many young Russian pianists do...He has the world at his feet.” The Times, 11th August 2012 ****

“Last year’s winner [International Tchaikovsky Competition] 21-year old Daniil Trifonov is truly exceptional. Trifonov … the orchestral support is first-rate … Even more impressive are the solo works included here which display all the variety of Trifonov’s tonal range … Seemingly there is nothing that Trifonov cannot do. Trifonov may be at the start of his career but he is already a mature artist. His youth brings an overwhelming energy which seems to blow the cobwebs off everything he performs: he forces one to listen to these works anew, the sure sign of greatness.” International Record Review, October 2012

“His special blend of attributes is on display here, not least his technical ease, exquisite control and rich resource of colour. In the Tchaikovsky [Concerto], Trifonov's playing ignites when it has to, but is generally notable for its dynamic phrasing and variety of articulation. For such an overworked piece it sounds remarkably fresh.” BBC Music Magazine, December 2012 ****

“[Trifonov] makes the instrument sing and allows the music to breathe … The six Liszt song transcriptions show him at his best, triumphantly capturing all the despair of ‘Erlkonig’ … A pianist, then, with a great international career in front of him (no doubt about that).” Gramophone Magazine, November 2012

“Bolet's distilled, rarefied art of spinning out a translucent lyrical line, his broad tempos, deep-toned basses and unforced sonorousness were all the products of his musicianly maturity” BBC Music Magazine, July 2010

“Bolet's Liszt is renowned for its aristocratic refinement: rather than youthful flashy fingers, we get masterful lyrical poise. The Cuban-American's Die Forelle remains unchanging.” BBC Music Magazine, May 2013 ****

“The most dramatically potent account of the Schubert - Liszt Erlkönig that I have ever heard.” Gramophone Magazine

“Valerie Tryon, who established her career in England before moving to Canada in 1971, is another fine pianist, though not as well-known or as super-virtuosic as Hamelin. A co-founder of the Rembrandt Trio (with Gerard Kantarjian, violin, and Coenraad Bloemendal, cello), Tryon plays music from all centuries and is said to have some 50 concertos in her repertoire. She has especially espoused Liszt, and for her interpretations was awarded, in 1986, the Ferenc Liszt Medal of Honour by the Hungarian Ministry of Culture. It is no surprise, therefore, that Naxos has called upon Tryon to contribute to its "Complete Piano Music of Liszt" series, the most recent addition of which offers 19 Liszt transcriptions of Schubert songs, including six Muller-Lieder, the four-song Geistliche Lieder, Erlkonig, Die Forelle and other well-known items. The fascination here arises from the manner in which Liszt manipulates and decorates Schubert's relatively straightforward lyrical ideas. Turning to Valerie Tryon after listening to Marc-Andre Hamelin, one is immediately aware of the former's softer, less-percussive touch, and a complete lack of exhibitionism on her part. These are eminently sane, beautifully balanced, unexaggerated readings that will offer much pleasure to lovers of Schubert's melodies.” Ottawa Citizen, June 2001