Britten: Sonata for cello and piano in C major, Op. 65

“This is the fastest version of Britten's Cello Symphony on record. From the opening chords there's a brisk vigour to Alban Gerhardt's approach that marks it out as distinctive. He seems hell-bent on grasping this sometimes awkward and ungainly beast by the scruff of its neck and finding something new in its gruff exchanges...Last but not least his reading of Britten's Sonata with Steven Osborne is utterly thrilling. A must-have set for all Britten enthusiasts.” BBC Music Magazine, February 2013 ****

“[Gerhardt] has a cool-headed precision Britten would probably have admired...Given Gerhardt's fine Britten credentials, this makes a recommendable package: performances are well judged, with clean-cut rhythms and good attention to detail.” Gramophone Magazine, February 2013

“Gerhardt makes one of the strongest cases for [the Cello Symphony] on disc since the composer’s own recording with the cellist. While his partnership with Osborne in the Sonata ...sparkles, he truly comes into his own in the solo suites, the most personal music here, inspired by the keynote works of Bach.” Sunday Times, 27th January 2013

“This poetic, virtuosic player makes a powerful case for the three unaccompanied Cello Suites on the second disc. There's no shortage of recordings of these suites...but this is as good as any.” The Observer, 27th January 2013

“Strongly and sensitively partnered by Steven Osborne, Gerhardt gives a wonderfully vital performance of the Cello Sonata, alert to the cunning interplay between the two instruments...[in the Suites] Gerhardt’s playing is supple, richly coloured and articulated with the utmost finesse...These performances demonstrate a mature affinity with Britten’s highly personal style” The Telegraph, 18th January 2013

“The tone is gritty, expressive and eloquent. Britten himself speaks through these accounts.” Classic FM Magazine, October 2011

“This is a classic recording of the Cello Sonata, with Rostropovich and Britten playing with an authority impossible to surpass, and is here coupled with the unaccompanied First and Second Cello Suites. The suggestive, often biting humour, masks darker feelings. However, Britten manages, just, to keep his devil under control. Rostropovich's and Britten's characterisation in the opening Dialogo is stunning and their subdued humour in the Scherzo-pizzicato also works well. In the Elegia and the final Moto perpetuo, again, no one quite approaches the passion and energy of Rostropovich. This work, like the two Suites, was written for him and he still remains the real heavyweight in all three pieces. Their transfer to CD is remarkably successful; it's difficult to believe that these recordings were made in the 1960s.” Gramophone Classical Music Guide, 2010

Best Buy Classic FM

“What is most striking about this perofrmance [of the Britten] is that, thanks to the brilliance of Simon Lane at the piano, the virtuosity of the piano-writing is thrillingly brought out...The three Frank Bridge pieces are well contrasted between easy lyricism and dazzling virtuosity in dashing triplets, while the duo are just as understanding in the French pieces” Gramophone Magazine, December 2012

“Walton and Grimwood consistently bring out the echoes of Soviet music that Britten no doubt intended as a tribute to his dedicatee...The natural warmth of Walton's playing, matching that of Rostropovich himself, is finely enhanced by the crispness and fresh focus of Grimwood's accompaniments. Clear, well-balanced recording helps to make this a first-rate issue.” Gramophone Magazine, May 2012

“Theirs is a true partnership, responding with like minds to the lyrical, quizzical and visceral aspects of the [Shostakovich] sonata’s trajectory...Individual episodes in the Britten are sharply focused in character but integrated into a broad, organic structure...This is highly cultured playing, rich in enjoyment.” The Telegraph, 9th March 2012 *****

“[Moser] brings out an armoury of colours and articulation [in the Bridge], along with a fine sense of architecture which places this performance with the very best...Rivinius, too, brings a rare energy to all three sonatas, together with great sensitivity. Theirs is a probing performance of the Britten, highlighting its debt to Shostakovich and Prokofiev...Two exciting talents who deserve a serious international profile.” BBC Music Magazine, March 2011 ****

“Moser plays with a full, dark tone that fits the Romantic flow of the Bridge Sonata well, and he and Paul Rivinius capture its brooding intensity and lyrical flights...They are responsive to the rapidly changing moods and quirky, sometimes humorous, sometimes savage interjections of Britten's five-movement work.” Classic FM Magazine, November 2010 ****