“[The chamber concert] begins with Tamsin Waley-Cohen and the Albion Quartet giving the most vivid and passionate account I have ever heard of Mozart’s Prussian Quartet…Pianist [Samson Tsoy] and string players join forces for the magnificent G minor Piano Quintet which Shostakovich composed, during the darkest days of the Second World War. They bring a molten intensity to its opening movement, luminous transparency to the Fugue, and they invest the chromatically-sliding leitmotif of the Intermezzo with a haunting ominousness.”

The Independent (Michael Church), September 2019

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Albion QuartetMusic Inter Alia

“There are few concertos that test the full range of a violinist’s artistry the way the Szymanowski does—and there are few violinists who ace that test with the subtle confidence of Elina Vähälä. Whether she’s singing out the music’s stratospheric lyricism, deftly navigating its mercurial shifts in emotional terrain, teasing out its subtle timbral demands, harnessing its long range rhetoric, knocking out the motoric Stravinsky-isms, or keeping the phrases from sagging under the weight of their florid ornamentation, Vähälä has the measure of this endlessly intricate score—as well as the technical brilliance necessary to toss it off without strain.”

Fanfare Magazine (Peter J. Rabinowitz), July/August 2019

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“[Debussy’s Première Rhapsodie] makes a seductive start, with Wauwe’s first note burgeoning from silence while the orchestra shimmers around her, and she is equally responsive to the music’s sudden feline leaps into a wholly different mood.”

The Telegraph (Ivan Hewitt), August 2019

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“William Walton’s (second) String Quartet [was] admirably expressed here in playing of trenchant precision and aching tenderness. Mood-changes were finely integrated within the first movement, the Presto was athletically taut and the Lento offered the last word in refinement, four musicians working as one, and then ending with ebullience.”

Classical Source (David Truslove), August 2019

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”Colours and textures [in Walton’s Quartet in A minor] were beautifully judged, from febrile to mercurial and finally spiky.”

The Guardian (Ryan Evans), 2019

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“Saturday's recital by the terrific Albion Quartet was all highlights, with Dvorak's 'American' Quartet (full of melodic thrust, clean lines and supercharged dynamic contrasts) and Walton's Quartet No.2 (tight, sinewy restlessness in the fast movements and a Lento of wonderfully poised sadness).”

Midlands Classical Music Making (David Hart), August 2019

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“With the APO, the Grieg concerto gave the Italian pianist the opportunity to combine crispness with poetry, effortlessly moving from impeccably chiselled minor to yearning major, in response to eloquently pleading cellos. The cadenza journeyed from rapturous nocturne to leonine roars and after, the adagio allowed Bax further exquisite dialogue with orchestral colleagues; the finale had the unbridled swing of a folk dance in which all were merry participants. A seat in the circle was an advantage at encore time, watching Bax play a Scriabin prelude using just one hand, with a richness of tone that you might have thought was coming from two.”

New Zealand Herald (William Dart), April 2019

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“Making his BSO debut, Bax gave the Mozart concerto a brisk, even-keeled treatment, and orchestra matched soloist in character. [..]Bax’sperformance was built on a foundation of understated grace, moderate dynamic shifts, and easy flow between statements”

Boston Globe (Zoë Madonna), January 2019

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“The most exciting debutin recent memory. An elegant pianist, he (Bax) approached every phrase with a singing tone, yet he displayed plenty of fire in the powerhouse passages. (…) Listeners were on their feet, demanding bow after bow from the soloist.”

Cincinnati Enquirer (Janelle Gelfand), April 2017

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“Accompanied most sensitively by Berlin-based Mario Häring, on piano, Waley-Cohen set the pulses racing with the breathless luminosity of her playing, passionate yet controlled, flamboyant but not extroverted, from the first movement to the surging D minor finale, modulating from fragile vibrato to fully cascading passion. She took us on an emotional roller-coaster.”

The Yorkshire Times (Andrew Liddle), July 2019

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“Annelien Van Wauwe duly honoured Mozart’s particular empathy with the basset clarinet’s range of mood and timbre in all its registers. Her playing has abundant warmth and lyricism, allied to a sinuous vocal quality, and she produced some lovely, lightly period sonorities from an instrument almost twice the length of a modern clarinet. Thomas Dausgaard directed the BBCSSO to give Van Wauwe maximum exposure, especially in the cavernous lower register… this left the field open for the soloist to tease us with vocal phrasing, the odd dalliance with the orchestral wind instruments, some shapely decorations and, in the Adagio, some very alluring leanings into the note.”

Classical Source, August 2018

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“Conductor Jacek Kaspszyk managed to release energies out of Sinfonia Lahti, that you do not often hear. [...] He created an atmosphere, which results from great musicality and understanding [and] enhanced the rich and colourful chord structure in a very spontaneous and natural way, whilst also maintaining a balanced sound in the climaxes.”

Etelä-Suomen Sanomat, 18 March 2017

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“The Warsaw Philharmonic Orchestra was the headline act in Davies Symphony Hall on Sunday, Nov. 6, and there was no denying the vibrancy and flair of the orchestra’s playing under Music Director Jacek Kaspszyk [...] After intermission, Kaspszyk led a performance of Brahms’ First Symphony that was at once robust and refined. It boasted plenty of rhythmic momentum in the opening movement (where Kaspszyk won my heart by taking the repeat, always the sign of a conductor who knows his trade), as well as gracefully translucent textures in the slow movement. The encore was a brisk and vividly colored account of Leonard Bernstein’s “Candide” Overture — a surprising and frankly flattering tribute from a touring orchestra to its host country. It was a delightful close to an all-around rewarding evening.”

San Francisco Chronicle, 7 November 2016

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“Schubert's Third Symphony was pure magic in Kaspszyk's hands. It never lost sight for one moment of the quintessential melodiousness that is the composer's hallmark. But to the Poles' light-footed and well-sprung presentation, Kaspszyk added another ingredient: Beethovenian weight. It gave the symphony an unusual solidity, firming up the delight.”

The Herald Scotland, May 2015

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“Then came one of the day’s highlights: pianist Joanna MacGregor’s exceptional interpretation of the Goldberg Variations. With her tone as poised as it was subtly refined, she explored the many planes on which Bach’s structure operates, highlighting its protean variety of texture in a performance that touched the sublime.”

The Guardian

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“Joanna MacGregor, making her Chicago Symphony Orchestra debut, was just the sort of soloist this music needs – firm of rhythm, incisive of attack, as coolly commanding at the keyboard as Boulez was on the podium. A terrific performance all around.”

Chicago Tribune

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“MacGregor seems incapable of giving performances that are not at once extremely intelligent and entertaining…. She brilliantly multi-tracked herself in Conlon Nancarrow studies intended for player-piano, but bare musicality prevailed in her closing piece, a deeply touching account of the Allemande from Bach’s Fourth Partita.”

The Sunday Times

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“The interpretation of the concerto, especially the cadenzas, but also the understanding between the soloist and the orchestra, was superb.”

South Wales Argus, October 2017

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