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David Threasher
Gramophone, January 2016

…[Naxos musicians] offer nothing less than tasteful readings. © 2016 Gramophone Read complete review on Gramophone

Remy Franck
Pizzicato, December 2015

It’s a real pleasure to discover these chamber music transcriptions of three well-known symphonies by Wolfgang Amadeus Mozart. © 2015 Pizzicato

Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, November 2015

The music appears in an exposed setting, displaying all its charms but pared down to the essentials. Hummel does the reframing with subtlety, using the piano as a fulcrum point as he well would have if the quartets were composed of his music, and nicely scoring the flute, violin and cello parts to make the music sing wonderfully well. There are some nice Hummel touches here and there that remind us he was moving in early romantic circles.

Exceptional fun! © 2015 Gapplegate Classical-Modern Music Review Read complete review, November 2015

What Hummel did here was to find ways to bring out orchestral color through an expansion of the piano part, using the more-developed pianos of the 1820s to fine effect. © 2015 Read complete review

The New Zealand Herald, November 2015

…Grodd the flautist was…joined by violinist Friedemann Eichhorn, cellist Martin Rummel and pianist Roland Kruger to record these transcriptions for Naxos, with the latest set offering the Linz, Haffner and Jupiter Symphonies.

…beautifully crisp recordings… © 2015 The New Zealand Herald Read complete review

Paul Riley
BBC Music Magazine, November 2015

Three late symphonies are given in Hummel’s piano-driven arrangements with a breezy and robust vigour that occasionally marginalises finesse. © 2015 BBC Music Magazine

David Denton
David's Review Corner, October 2015

Even in today’s world of jet-set touring virtuosos, the schedule of Austrian-born, Johann Hummel would prove daunting, though it was just one part of his career. He had from the age of eight lived and studied with Mozart in Vienna, and three years later set out on his first European tour. Those young years proved amazingly successful, and the following two decades were punctuated by major appointments, though his enjoyment of an outgoing life-style did not always endear him to his employers. Still he managed to combine with his piano appearances, a life as a conductor of both opera and symphony concerts, and was a champion of his mentor. He was also prolific in his output of compositions, and, in response to a commission, he set about arranging works by Mozart for chamber ensembles, including three symphonies scored for flute, violin, cello and piano. He remained largely faithful to the import of Mozart’s original, and it was in such arrangements that works became known in the 19th century. You only have to go back seventy years and such transcriptions were still highly popular, aspiring youngsters playing them for home enjoyment. Hummel’s recipe was generally simple; the pianist was entrusted with the weight of performance, while the flute and strings augmenting the texture, often taking the line they would have had in the orchestral version. Here we have a distinguished quartet with Uwe Grodd as the flautist; violinist, Friedmann Eichhorn; cellist, Martin Rummel, and the multi-award winning pianist, Roland Krüger. They certainly drive the works forward with good speed and energy, the Haffner, becoming a very creditable piano concerto. The parts, in Grodd’s performing editions, are now available on Artaria Editions, and I guess they will give amateurs hours of pleasure. The recorded sound is in the premiere league. © 2015 David’s Review Corner

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