“Waley-Cohen captures the score’s spirit of infectious bonhomie to perfection, and brings a similar air of uncluttered simplicity and ingenuousness to the Four Romantic Pieces [by Dvorak], creating the bracing impression of inspired improvisation.”

–The Strad (Julian Haylock) (Review of Bohemia (CD), 2017

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Tamsin Waley-CohenWRB

“One of this year’s [Rising Stars] artists is the terrific British violinist Tamsin Waley-Cohen … In a programme that included a febrile and rhapsodic account of Poulenc’s Violin Sonata, Waley-Cohen gave the London premiere of Oliver Knussen’s Reflection ... this beautifully crafted eight-minute work is made of tiny aural brushstrokes suggesting water: ripples mirroring each other and bursting out in expression and ecstatic high lines.”

–The Observer (Fiona Maddocks), 2017

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Tamsin Waley-CohenWRB

“Oliver Knussen’s eight-minute Reflection (2016), for violin and piano, had its London premiere from Tamsin Waley-Cohen and James Baillieu, superb players both. With its stylistic assurance and fresh-sounding impressionism ... it seemed a piece long present in the canon.”

–The Sunday Times (Paul Driver), 2017

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Tamsin Waley-CohenWRB

“During the orchestral introduction, the soloist visibly entered into the soundworld, and this was echoed in the later orchestra-only sections, when her body language showed she was living the music with them. In every sense of the word, there was harmony between all players, a great feeling of supporting each other. The whole concerto was a triumph, but special mention goes to her pin-drop cadenza in the first movement, with eloquent silences and an exciting sense of anticipation. Affectionate applause was followed by Waley-Cohen's exquisite encore in the shape of J.S. Bach's Sarabande.”

–Bachtrack (David Mellor)

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Tamsin Waley-CohenWRB

“Waley-Cohen had shown what a fine player she was, projecting George Benjamin’s Three Miniatures, Richard Causton’s new Fantasia and Air and Fernyhough’s daunting Intermedio alla Ciaconna with fearless intensity.”

–The Guardian (Andrew Clements)

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Tamsin Waley-CohenWRB

“Young Artist to Watch – Great playing from the very talented Tamsin Waley-Cohen. This really highlights the talent of the next generation of virtuosi.”

–Classic FM (David Mellor)

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Tamsin Waley-CohenWRB

“... her sense of line and capacity to make things happen are both beautiful and strikingly individual ... The Lark Ascending's opening solo searches out an extreme degree of musical space in a way that's at once daring and mesmerising.”

–BBC Music Magazine

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Tamsin Waley-CohenWRB

“Tamsin Waley-Cohen launches into Szymanowski’s Sonata with gusto, her bow rasping on the string in the composer’s passionate flights, her sound meltingly beautiful and fragile in his graceful melodies. She has a potent rhetorical style, moving neatly from dramatic flourishes and cadenzas into gentle lyricism.”

–The Strad

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Tamsin Waley-CohenWRB

“Her playing reminded me of that of the great Arthur Grumiaux; a higher compliment is impossible.”

–The Examiner, Ireland (Declan Townsend)

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Tamsin Waley-CohenWRB

“Miss Waley-Cohen charmed us throughout the evening with a Beethoven that was passionate and elegant, full of a liberty and grace we haven’t heard for a long, long time.”

–Una Voce Poco Fa, Italy (Massimo Crispi)

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Tamsin Waley-CohenWRB

“... superlative performances of Vaughan Williams. The Lark Ascending ... Highly recommended.”

–Northern Echo

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Tamsin Waley-CohenWRB

“Waley-Cohen brings such intimacy to her performances that at times one could believe her 1721 Stradivarius was a breathing organism.”

–New Zealand Herald on Tamsin's Hahn/Szymanowski disc

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Tamsin Waley-CohenWRB

“The Sitkovetsky Trio play not just in three individual parts but, more importantly, in three dimensions... Architectural shape and overriding purpose prevailed, the very last notes being delivered with as much edge-of-the-seat importance as the first. This was the real deal. [Mendelssohn Piano Trio No.1, Op.49]”

–The Australian, 2017

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Sitkovetsky TrioWRB

“These three artists – all in their early 30s – have fused rapidly into an exemplary piano trio, working through a demanding program with excellent fluency and solid collegiality of attack, phrase-shaping and insight.”

–Sydney Morning Herald, 2017

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Sitkovetsky TrioWRB

“The first half’s melodramatic serving of tragedy and visceral protest, Russian-style, was a stunner. There were no boring drifts. No throwaway segments in which thoughts can wander and dreams unfold. The Sitkovetsky don’t let their listeners off the hook. And their zest for high drama resonates in unusually prolonged endings... Deeply rewarding, the recital brimmed with infectious sincerity, wild energy and impressive unity.”

–Limelight Magazine, 2017

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Sitkovetsky TrioWRB

“Wu Qian’s playing was full of colour and power – she isn’t afraid to stand out boldly when the music calls for it. I haven’t heard a better performance of this work [Shostakovich Piano Trio No.2]”

–Adelaide Now, 2017

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Sitkovetsky TrioWRB

“The Trio Sitkovetsky’s playing displays colour, liveliness and a strong feel for Mendelssohn’s voice. It has all the ‘fire and vivacity, the flow in a word the mastery’ that Ferdinand Hiller described after hearing the premiere in 1840. Wu Qian dazzles but never blinds and her seemingly easy-virtuosity is well matched by violinist Alexander Sitkovetsky. There is always the sense of three individuals listening to one another to create a satisfying whole.”

–BBC Music Magazine (4 stars) (CD Recording BIS Records: MENDELSSOHN Piano Trios), 2015

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Sitkovetsky TrioWRB