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Stephanie Eslake
Limelight, September 2016

While the weighty strings which open the Grand Nocturne Brilliant, Op. 95 sound reminiscent of Mozart’s Requiem, the work is quick to form its own identity. Remarkably balanced winds and strings give way to the main feature: Tuck. At once, she is romantic, aggressive and pronounced; her melodies don’t flow smoothly, but this sheds light on her precision and accuracy (and the clear recording).

…Czerny’s concertos offer similar pleasures and complexities—without the ego. This honours the pianist’s virtuosity but pays respect to the form, which relies on other instrumentalists. Thankfully, this collection of musicians under Richard Bonynge is remarkable. © 2016 Limelight



Gregory Hamilton
American Record Guide, September 2016

The performances are first rate, and Ms Tuck is fully up to this difficult music. © 2016 American Record Guide Read complete review on American Record Guide




Kevin Painting
primephonic, June 2016

The playing here is perhaps a little understated in the first movement and lacking in drama but Tuck impressively navigates the pianistic minefield in the development section as the difficulties pile up to reach a thrilling conclusion. …There is much fun to be had here and Tuck is in fine fettle; while Czerny does not have Hummel’s mastery of form, the piano writing is sparkling and the conclusion breathtaking. © 2016 primephonic Read complete review



Des Hutchinson
MusicWeb International, June 2016

Tuck is dazzlingly articulate and secure in the countless runs and fast passagework Czerny asks of her…

I have nothing but praise for the artists involved in this production, and the Naxos recording is excellent. © 2016 MusicWeb International Read complete review



David Denton
David's Review Corner, May 2016

Piano students will have dutifully ploughed their way through Carl Czerny’s studies, though that is all the world remembers of this hugely prolific Viennese composer. In total, he wrote over a thousand works including nine symphonies, and a large volume of works for piano, including concertos, and many sacred scores to complement his deeply religious life. Strangely, he spent much of his time promoting the music of others, and in particular that of Beethoven, and much of his ‘serious’ scores were locked away in his drawers. He was, of course, living at a time when pot-pourris and fantasias were much in vogue, and Czerny was not averse to providing them, which turned attention away from his more substantial scores. Do we sense a revival of the musical world of Czerny? He was certainly a master of decoration as is evident in the Grand Nocturne Brillant, the disc’s soloist, Rosemary Tuck, describing it as ‘a spun out, romantic manner’. The back insert’s date of 1930 for the Grand Concerto in A minor is obviously wrong, and should be 1830. In length it is substantial, its opening movement, with its lengthy orchestral introduction, lasting over sixteen minutes. Maybe not profound music, but if you enjoy Chopin, then this is for you, the final Rondo a fun-packed delight. Finally, the Variations de Concert sur la Marche des Grecs de l’Opera ‘Le Siege de Corinthe’ de Rossini, and with a name as long as that, it never stood a chance in the popular world, though it is highly inventive and hugely pleasing. The Australian pianist, Rosemary Tuck, gets her fingers around a myriad of notes with crystalline clarity, Richard Bonynge conducting the English Chamber Orchestra in neat accompaniments. Outstanding and perfectly balanced sound. © 2016 David’s Review Corner





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