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Adrian Corleonis
Fanfare, March 2015

Set off by the more substantial Invitation to the Dance, and delivered with glistening lilt, the program is a frank miscellany indulging a paradoxically melancholy nostalgia for a world past or passing as they were composed. Recommended. © 2015 Fanfare Read complete review



Sang Woo Kang
American Record Guide, January 2015

Scherbakov is a good advocate for these technically challenging works…[his] devotion to this overlooked composer is admirable. People following this series will enjoy this recording.  © 2015 American Record Guide Read complete review on American Record Guide



Jeremy Nicholas
Gramophone, January 2015

Each piece…is wonderfully well characterised to show these largely forgotten works in the best possible light. © 2015 Gramophone Read complete review on Gramophone




Jed Distler
ClassicsToday.com, November 2014

As always, Scherbakov is in complete command, technically and musically. His sense of textural foreground and background particularly shines in the Six Waltz-Poems for left hand alone, while his firm articulation and rhythmic drive in the Op. 11 No. 1 Concert Study prove more interesting than the actual music. These qualities also describe Scherbakov’s bravura performance of the Weber Perpetuum Mobile, where Godowsky piles more technical hurdles on top of that composer’s already challenging First Sonata Rondo finale. In Godowsky’s hands, Weber’s Invitation to the Dance gets swallowed up into a huge contrapuntal paraphrase, packed with chromatic reharmonizations and garish inner voices. Somehow Scherbakov’s straightforward elegance and stylish poise prevent the music from sounding overloaded. © 2014 ClassicsToday.com Read complete review



David Denton
David's Review Corner, September 2014

We have reached the twelfth volume in the complete piano works of the legendary Polish-born American keyboard virtuoso and composer, Leopold Godowsky. The contents come from that era when pianists played in fashionable restaurants, titillating the listener with adaptations of popular classical music, often with moments of ear-catching brilliance. When the music so demands, the Russian-born, Konstantin Scherbakov, impresses by the apparent ease with which he masks the technical challenges. As in previous releases he often gives the impression of playing for his own pleasure, the outcome becoming a relaxed view of tempos and rhythmic rectitude. I guess that is exactly how Godowsky would have played them. © 2014 David’s Review Corner





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