Mozart: Violin Sonata No. 35 in A major, K526

“often bar-by-bar alternation between joy and sadness, beauty and regret, in mature Mozart is something to which Christam Tetzlaff and Lars Vogt are continuously alive...Tetzlaff finding a different articulation and colour for his almost every phrase...hardly 'period' performances, but these players find so much meaning in this music.” BBC Music Magazine, February 2013 ****

“This disc brings toether two musicians absolutely at the top of their game and with long experience of working together, as the easy dialogue between them amply demonstrates...It's the hyper-reactivity between the two players that is a constant delight, as witness their subtle way of varying repeats...A delight from beginning to end. Would it be too much to hope that this might be the start of a series?” Gramophone Magazine, February 2013

“Tetzlaff and Vogt display strong character throughout yet they still evince warmth and sensitivity. The results are impeccable and dignified; teamwork and love for the music is at the heart of this. The sound quality is pleasingly clear with the piano set slightly further forward in the balance. No admirer of Mozart’s chamber music should hesitate with this Ondine release.” MusicWeb International, April 2013

“Violinist Catherine Mackintosh and fortepianist Geoffrey Govier, playing on copies of instruments from Mozart’s time, have 18th century performing practice down pat: though historically-informed, theirs is natural and engaging music-making...Duo Amadè bring a wealth of insight to their stylish and well-recorded performances, making this release eminently recommendable.” Graham Rogers, bbc.co.uk, 16th September 2010

“Here's Mozart interpretation in the raw, not overlaid with effusive graciousness, neither apologetically insipid nor crude, but very expressive on its own terms. Listen and ponder. These are committed performances throughout.” Gramophone Magazine, Awards Issue 2010

“The refreshingly different 'period' string / keyboard balance makes this CD collectable, and if the sometimes gauche early works are unglamorised, these forceful players steer an ideal course between gravity and joyousness in the virtuosic final sonata.” BBC Music Magazine, July 2009 ****

“"This young British duo are natural Mozartians, phrasing discerningly, summoning plenty of temperament when required, yet never over-egging the pudding when the composer is in guileless vein... the players responding creatively to each other’s phrasing.” BBC Music Magazine

“The most poignant music here is the two-movement E minor Sonata (K304) that Mozart wrote in Paris not long after his mother died, a piece much beloved of Arthur Grumiaux and Clara Haskil, who recorded and played the work in recital. Rachel Podger and Gary Cooper also make a fine job of it, a more expansive one than we usually hear. Not that their tempi are anything less than well chosen: the extra length originates in their choice to repeat both halves of the first movement. Cooper's playing at the start of the Minuet second movement is both delicate and elegant whereas the muted, ethereal sound both players conjure for the centre of K9's finale is remarkable. The galant early D major Sonata (K29) shows JC Bach's influence and the vividly orchestrated colouring of this Podger-Cooper rendition seems to underline that influence. Cooper's tendency to expressively desynchronise chords, in parts of K302's Rondeau, for example, is very appealing.
The really big event musically speaking is the magnificent A major work (K526), the last but one of Mozart's violin sonatas; the first movement is as extrovert as it is inventive (especially in terms of its varied rhythmic emphases), the slow movement one of Mozart's finest – a justified prompt for both players to favour an almost operatic approach. Podger in particular adjusts and alters her tone projection more effectively and expressively than most period players do.
Most attractive is the duo's relative freedom, their refusal to be bound by bar-lines: there's an appealing fluidity about their playing. Add excellent sound, and the recommendation is clinched.” Gramophone Classical Music Guide, 2010

“Podger in particular adjusts and alters her tone projection more effectively and expressively than most period players do. I also like the duo's relative freedom, their refusal to be bound by bar-lines: there's an appealing fluidity about their playing. Add excellent sound, and the recommendation is clinched.” Gramophone Magazine, August 2007

“Remarkably clear recordings enable us to savour the warmth and passion of Campoli's playing. Katin, too, is admirable, maintaining rock-solid ensemble.” BBC Music Magazine, December 2012 ****

“this release consists of entirely discography-filling material … The recorded sound is excellent … A warm welcome […] to this disc, which offers considerable rarity value to the violin aficionado” MusicWeb International, August 2009

“The live recordings […] show some of the ‘bel canto’ playing for which Campoli was so well known … The recording is very good indeed though the violin is quite closely miked, giving an intimate feel to the playing” Audiophile Audition, 28th September 2009

“The beauty of this recording is in the stellar playing, the sincerity of the musicianship, the straightforward sophistication of the interpretations, and the intimacy and high quality of the recorded performances.” American Record Guide, July/August 2010

“it is a great musical treat to hear these two musicians in this work [Brahms], especially their very expansive reading of the slow movement and the discipline and vigour of the finale.” International Record Review, June 2012

“These are compelling duo recordings … The three popular sonatas come out of the loudspeakers with stunning presence and immediacy. Recommended, and do explore this special small label.” Musical Pointers, June 2012

“in an outstanding programme, the great duo of Alfredo Campoli and Peter Katin play [the Mozart and Beethoven] with exquisite taste, refinement and velvety tone…[The Brahms] captures the magical intimacy of two great musicians making music together at home, and the results are spellbinding. Strongly recommended” The Strad, July 2012