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David W Moore
American Record Guide, July 2011

…these musicians make a good case for the present arrangements. This is a collection of beautiful music.

To read the complete review, please visit American Record Guide online.

Giv Cornfield
The New Recordings, Cliffs Classics, April 2011

This compilation consists of one work originally composed for the cello, the rest arrangements (by the very able pianist) of violin and piano compositions. It was a great pleasure to hear these wonderfully sensitive versions of old friends like the A minor sonata, Op.105, the Fairy Tales Op. 113 and the Three  Romances, Op. 94 and Clara Schumann’s Three Romances, Op. 22, dedicated to the great violinist Joseph Joachim. All the transcriptions work extremely well and sound quite ‘native’ and natural, especially when played in such great style and rich tone by Ms Georgian and her very able and talented accompanist/transcriber. This is a memorable disc and one to cherish!

David Denton
David's Review Corner, March 2011

Robert Schumann’s ‘Music for Cello and Piano’? So the sleeve proclaims, but surely he only wrote a concerto and one other work for the instrument, neither of which are included here. What, in fact, we have is the Adagio and Allegro for horn and piano, with an option to use the cello, followed by the Fantasiestucke for clarinet and piano, also with an option to use the cello. That is about as near as we come to the title, the disc’s most extensive work being a modern cello and piano transcription—never authorised by the composer—of the First Violin Sonata, and that precedes a transcription of the work for viola and piano, Marchenbilder. Finally a piece for oboe and piano, the Three Romanzes in a transcription.Even the Clara Schumann score, Three Romanzes, is a work for violin and piano, composed in much affection for her friend, Joachim, and on that instrument it should remain. Much on the disc sounds ‘nice’ on the cello if somewhat inappropriate, though the Violin Sonata transcription is, to my mind, taking things too far. The arranger, Jan Willem Nelleke, who is also the disc’s pianist, says that his ‘arrangement attempts to stay faithful to the original timbre rather than trying to be a note-perfect transcription.’ It was made for the Rostropovich pupil, Karin Georgian, who plays it with an obvious sympathy towards its originator. The Naxos catalogue already contains the first two works played quite gorgeously by Maria Kliegel, but cellists will be inquisitive to hear the remaining transcriptions on this new release.

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