Fauré: Romance in A major for cello & piano, Op. 69

“Rysanov has previously demonstrated that there is far more to the instrument than Romantic brooding, but this disc finds him exploring that cliche...and the playing is utterly sublime, especially Rysanov's delicacy in upper registers and gossamer-like harmonics...The sense throughout is more of fine dark chocolate than sugar, and what (only just) prevents this becoming too sickly is the inclusion of Richard Dubugnon's Lied and, especially, Incanto.” BBC Music Magazine, February 2013 ****

“Rysanov is a remarkable string player; in his hands the viola's distinctive voice is explored throughout its range, with consistently beautiful variations of intensity and tone colour. And he and Wass show great sensitivity in finding the appropriate tempo and character for each item.” Gramophone Magazine, March 2013

“I can congratulate Rysanov for his excellent playing, Dubugnon for at least one really excellent piece, and BIS for once again creating an exciting program blending old and new...[Wass's] contributions are simply phenomenal, with a softness of touch which makes one forget the piano is percussive.” MusicWeb International, April 2013

“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

“They make a particularly fine duo here, working emotionally in unison, sensing the music’s contours with like mind, breathing as one...their feeling for moments of drama and repose is held in ideal equilibrium, and their pointing up of Fauré’s individual harmonic shading is judged instinctively.” The Telegraph, 13th January 2012 *****

“Alban Gerhardt's account of Fauré's two cello sonatas, both late works, repay careful listening. Like the works themselves, his playing and that of the pianist Cecile Licad is full of subtleties, the half-tones and inflections that make the chamber music of Fauré's final decade so elusive and fragile. Nothing here is forced or made to conform” The Guardian, 19th January 2012 ****

“From every standpoint, Gerhardt's accounts of the sonatas seem exceptional, with their assured technical mastery and uncanny depth of insight...none of [the] rival accounts will readily eclipse these sonorously authoritative new performances...Magnificent cello playing from Gerhardt, empathetically supportive accompaniments from Licad and a wonderfully natural and atmospheric recording to boot.” International Record Review, January 2012

“One has a powerful sense of Cecile Licad and Alban Gerhardt's compelling grasp of architecture...[in the Andante of No. 1] Licad's melting lines are wonderfully voiced, and we have a choice of finales - one at Faure's own controversially slow tempo, and one at the performer's preferred, faster tempo. In the Second Sonata, Gerhardt captures the first movement's exalted energy.” BBC Music Magazine, March 2012 ****

“[Gerhardt] has the command of a very fine virtuoso...[Gerhardt and Licad] sound free as air, intellectually confident, full of verve, with niceties of balance and intensities never an issue; a convincing frame of colour, movement and sound in place for every movement...obviously the one to get. May it win friends for some excellent and still undervalued music.” Gramophone Magazine, April 2012

“Meyer's soft-grained playing is unconvincing; Salque is eloquent; Le Sage's articulation crisp.” BBC Music Magazine, April 2012 ***

“[Salque] projects a range of sound and character that makes one listen. He has as well a 'speaking' quality to his tone, from time to time, more intimate in manner, that I particularly like.” Gramophone Magazine, April 2012

“With Paul Meyer as a gloriously responsive partner for Salque and Le Sage, this performance is another that goes straight to the top of any list of recommendations...this is a disc that can be recommended with all possible enthusiasm: it includes some of the most perceptive Faure playing that I've ever heard...I would urge anyone who loves Faure's music to hear this exceptional recording.” International Record Review, June 2012

“Nina Tichman uses Fauré's powerful left-hand lines correctly as counterweight to the cello's soaring tunes. Impassioned playing from her Kliegel gives us not only the two sonatas, but also the Elégie and even the Romance as the fine, strong works they are.” BBC Music Magazine, July 2008 ***

“Maria Kliegel has made some formidable recordings for Naxos. Here she offers a collection of Fauré's cello music, centring on the two cello sonatas, both late works. To these she adds a varied collection of pieces not all originally written for the cello, such as the song Après un rêve.
The sonatas are nicely contrasted but Kliegel's performances with her regular accompanist Nina Tichman (her partner in the Xyrion Trio) cannot help bringing out the fact that though both works are satisfyingly compact, the musical material of No 2 is far more compelling, where the lyricism in No 1 rarely adds up to a recognisable tune.
No 2 brings a crisply compact sonata-form first movement, a warmly lyrical slow movement building up to a powerful climax and a dashing finale with a spiky second subject. In both sonatas and in the shorter pieces Kliegel plays with an impressively wide dynamic range down to a mere whisper of pianissimo, perfectly articulated.
The Elégie, Fauré's most famous cello piece, comes in a moving performance, and the fluttering Papillon, written some years later, is a brilliant companion piece. The most famous of the other pieces on the disc is the haunting Sicilienne. The Berceuse, originally for violin, has been transcribed for a number of other instruments and Après un rêve comes in a clever cello transcription. Kliegel is on top form throughout; long may her recordings for Naxos continue.” Gramophone Classical Music Guide, 2010

“In both sonatas and in the shorter pieces Kliegel plays with an impressively wide dynamic range down to a mete whisper of pianissimo, perfectly articulated.” Gramophone Magazine, Awards Issue 2008