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Barbara Podgurski
Cambridge University Press, December 2017

Rashidova performs on this album with perfect technique and razor-sharp intonation. Her seductive sound is full of colour and charm, and she performs throughout the album with a mature understanding of the music. © 2017 Cambridge University Press

Robert Maxham
Fanfare, July 2016

Pablo Sarasate recorded the often-played Guitarre, which the duo gives a winning performance. …For its highly ingratiating repertoire, its bright performances, and its clean recorded sound, the collection deserves a strong recommendation to all those who enjoy this kind of repertoire. © 2016 Fanfare Read complete review

Philip R Buttall
MusicWeb International, February 2016

Stylistically, Rashidova proves an ideal exponent, with the necessary technical prowess to make light work of the difficulties, while never losing sight of the music itself. It is essentially salon music, but expertly-written as such, and Rashidova treats it with due respect throughout.

…a highly-enjoyable, uncomplicated, and decidedly easy-on-the-ear CD—and certainly very hard to resist with its bargain price-tag. © 2016 MusicWeb International Read complete review

Bob McQuiston
Classical Lost and Found, January 2016

…[Rashidova] delivers technically impeccable, sensitive renditions of these pieces, and through the wizardry of modern day recording plays both string parts in the suite.

The composer having been one of the Romantic Era’s great pianists, there are many demanding keyboard passages. Daniel Grimwood handles them with great aplomb, while at the same time being completely supportive of Ms. Rashidova. © 2016 Classical Lost and Found Read complete review

Jeremy Nicholas
Gramophone, January 2016

Rashidova is an accomplished player and has assembled a programme that might inspire some of her peers. …the aplomb and character of [Rashidova and Grimwood’s] playing carry the day. © 2016 Gramophone Read complete review on Gramophone

David Denton
David's Review Corner, December 2015

An early career as one of the 19th century’s outstanding concert pianists, Moritz Moszkowski’s career was ended by a nervous condition while still in his thirties. He did leave a sizeable output of compositions, the last forty years of his life being given over to writing works that brought him high public regard, instrumentalists seizing the opportunity to arrange them for their own instrument. Such was the case with the distinguished French violinist, Émile Sauret, who recast the piano duet’s Spanish dances, and in so doing created an encore ‘lollipop’ in the catchy tune of the Bolero. In nature the disc concentrates on his salon music, with disarming charm in the Four Pieces, and a beguiling Melodie as a foil to the effervescent final Humoresque. More substance in the Zwei Concertstucke, an early score from his twenty-fourth year, the piano given far more than an accompanying role, the opening Ballade a lengthy piece ending just short of twelve minutes. I am less than enthusiastic to find the Azerbaijani-born, Nazrin Rashidova, playing both parts in the Suite for two violins. We really wanted two personalities with two different sounding violins, but I guess just having the work on disc is good in any format. The distinguished pianist, Daniel Grimwood, brings a high degree of sparkle and vivacity, and rather steals the disc from Rashidova. We end with three encores where famous violinists arrange Moszkowski’s piano pieces for their own use. Enjoyable performances, but we are back in that Welsh studio where I so dislike the piano tone. © 2015 David’s Review Corner

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