Liszt: Valse-Impromptu, S.213

“While 'La leggierezza' is technically sound but musically square, the four Hungarian Rhapsodies stand out for Mosell's stylish bravura; she clearly enjoys showing off her supple octave technique in No. 6...Keep this one for the Rhapsodies.” Gramophone Magazine, February 2013

“Pianistically, this recording is every bit as thrilling as the first...dazzling with her technique and surprising with her emotional maturity...There is no call for much in the way of pathos in her programme...when it comes to virtuosity, sensibility, panache, however, she has what it takes. Her articulation in particular is outstanding, with every note - Liszt permitting! - clean and precise.” MusicWeb International, December 2012

“Rubinstein's rounded tone and spacious firepower confirm his legendary reputation, and then some: Liebestraum has an unaffected depth. Unforgettable.” BBC Music Magazine, August 2011 *****

“Listening to these recordings is like eavesdropping on a gracefully ageing veteran, delighted that his fingers are still capable of coming up with the goods...[The Sonata] is played here with a freewheeling grace and humanity. The last few seconds are a highlight - here a miraculous, poetic unwinding.” The Arts Desk, 9th July 2011

“Liszt is not a composer one instantly associates with Rubinstein...This blistering account of the E flat Concerto, recorded in Carnegie Hall when Rubinstein was in his late sixties, might change that perception...the playing crackles with the drama and energy of a live performance.” Gramophone Magazine, September 2011

'Unique among the piano virtuosos of his generation, Leif Ove Andsnes is a thinker, a listener, a keyboard poet' New York Times

“…everything here is a delight. Mompou's miniatures grow under Andsnes's skilful hands, Scriabin exudes his perfume, and Smetana evokes the full-dress glory of Central European domestic pianism. Pieces by Grieg and Johan Halvorsen bring this patriotic Norwegian lad back home.” BBC Music Magazine, October 2006 *****

“Andsnes here reveals a hitherto hidden side to his art – the salon charmer. Some of the pieces are favourites from his childhood, though it is not every nine-year-old who has tackled Sibelius's uncharacteristically jolly 'Staccato' Etude or mastered Chopin's First Impromptu with such fluency and grace. Appealing, too, is the drama and sweep he brings to Liszt's Liebestraum No 3 (though it will not suit everyone's taste) and his avoidance of cliché, while the Norwegian's own transcription of Halvorsen's Chant de Veslemöy (originally for violin), Ibert's Le petit âne blanc and Debussy's Clair de lune are played with a beguil- ing innocence, ravishing tonal finesse and – most important – palpable affection.
Bravura highlights include Gieseking's effulgent transcription of Richard Strauss's Ständchen and Smetana's Am Seegestade ('By the sea'), reminiscent of Raff's La fileuse and a rare example of a concert étude that opens in one key (B major) and closes a tone lower! Enterprisingly, Andsnes has tracked down a score of Charles Trénet's song Coin de rue transcribed by the coyly named 'Mr Nobody' whom I have no qualms about outing as none other than Alexis Weissenberg.
The whole recital is superbly recorded. As Andsnes himself says, 'It's great to see people walk away from a concert with a smile on their face'. This disc has the same effect.” Gramophone Classical Music Guide, 2010

“Andsnes here reveals a hitherto hidden side to his art - the salon charmer. …Ibert's Le petit âne blanc and Debussy's Clair de lune are played with a beguiling innocence, ravishing tonal finesse and - most important - palpable affection. Bravura highlights include Gieseking's effulgent transcription of Richard Strauss's Ständchen and Smetana's Am Seegestade ("By the sea")... The whole recital is superbly recorded. As Andsnes himself says, "It's great to see people walk away from a concert with a smile on their face". This disc has the same effect.” Gramophone Magazine, November 2006

“For sheer virtuosic panache and the ability to translate Liszt's ever-changing moods, Leslie Howard must be heard” Hi-Fi News

“While the B minor Ballade's introspective passages have plenty of breathing room, the virtuoso outbursts arguably set new speed records, and without the slightest trace of banging...Moog closes this highly recommended programme with a Bach/Liszt C major Prelude and Fugue, BWV545, whose powerful and sonorous impact evokes more than merely a Baroque organ at full throttle.” Gramophone Magazine, October 2011