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Michael Ullman
Fanfare, March 2016

Goldstein is by turns a bold and ineffably sensitive player. He makes Beethoven’s cadenza in the first movement of Concerto No. 20 seem like a delicate conversation. His dynamics make every phrase shapely: He neither prettifies Mozart nor makes the music more aggressive than the notes warrant. He plays the first movement of No. 21 with a grand, inspiring sweep. …[Quartet’s] playing is stylish and invigorating and well worth hearing. © 2016 Fanfare Read complete review




Paul Riley
BBC Music Magazine, November 2015

Mozart himself allowed chamber versions of his piano concertos, and Lachner adds double bass for extra heft. Finely shaded contributions from the strings underpin Goldstein’s fastidious advocacy. © 2015 BBC Music Magazine



Brian Wilson
MusicWeb International, August 2015

…I found Alon Goldstein’s performances and those of his supporting team satisfying in their own right.

Whatever full-scale versions of these concertos you may have, these small-scale versions, well-performed, recorded and presented, would make very fine additions to a Mozart library. © 2015 MusicWeb International Read complete review




Remy Franck
Pizzicato, August 2015

Alon Goldstein, the Fine Arts Quartet musicians and Rachel Calin fully make use of the possibilities offered by Ignaz Lachner’s Mozart transcriptions. They really transform the concertos in chamber music, in piano quintets. And thus, this CD is an enrichment of the Mozart recording catalogue. © 2015 Pizzicato



Lisa Flynn
WFMT (Chicago), July 2015

These chamber versions of two of Mozart’s greatest and most popular concertos sound almost as natural as if Mozart had transcribed them himself. © 2015 WFMT (Chicago)




Classic FM, July 2015

These chamber versions…are quite extraordinary, sounding as if Mozart had transcribed them himself.

It makes for a fascinating listen, with the pared down arrangements packing a particular dramatic punch, and exposing Mozart’s melodies which are delivered with great precision and clarity here by Goldstein. © 2015 Classic FM Read complete review



David Denton
David's Review Corner, July 2015

My usual aversion to arrangements melts away in the skilful transcriptions of two of Mozart’s popular Piano Concertos from the respected composer, Ignaz Lachner. The young Mozart had spoken of the possibility of making such arrangements, probably using a string quartet as the accompaniment, so that his works could reach audiences outside of those conurbations with symphony orchestras. It never happened, and it was left to Ignaz, the younger of the Lachner family of musicians, who followed soon after the death of Mozart, to make these highly effective performing versions for piano, string quartet and double bass. Maybe it is heretic to say that I really did not miss the orchestra, though what has emerged are very different works to the original, the lack of woodwind taking away important colours that provided the decoration on the thematic material. At the same the bass end of the orchestration takes on new weight that I find highly pleasing. Just try the famous slow movement and the finale of the Twenty-first Concerto to sample the slimmed down backdrop. The American-born pianist, Alon Goldstein, is a first class soloist whose clarity of articulation keeps the textures clean and open, and I would love to hear him in an extensive series of Mozart concerto recordings in their original format. The Fine Arts Quartet…is obviously enjoying their ‘discoveries’ in world premiere recordings, while the much experienced Rachel Calin is the fine bass underpinning the quartet. A pleasingly mellow recorded sound. © 2015 David’s Review Corner





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