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Allen Gimbel
American Record Guide, March 2020

The Piano Concerto (2010) is, like all the other pieces on the program, in one movement. Events are freely juxtaposed but placed in logical sections (fast, slow, cadenza, etc.). Groslot himself is also a good pianist and has a major career as such. The piano writing is spectacular. Scriabin comes to mind, but Liszt is also acknowledged. Orchestration is brilliant. © 2020 American Record Guide Read complete review on American Record Guide

Phillip Scott
Fanfare, March 2020

The performances and sound quality are first-class. Pianist Jan Michiels and cellist Ilia Yourivitch Laporev, while not the dedicatees of their concertos, bring appropriate brilliance and color to the music. Groslot is an excellent conductor, balancing the textures perfectly and receiving a tight response from the Brussels Philharmonic. The new disc is highly recommendable (particularly for the Cello Concerto)… © 2020 Fanfare Read complete review

Richard Hanlon
MusicWeb International, January 2020

There’s some exciting writing for various types of drum, notably the rototoms once beloved of Michael Tippett. The searing, almost modal conclusion of the Cello Concerto is certainly affecting, its final word a descending sigh with lightly painted accompaniment. The soloist is the Lithuanian Ilia Yourivitch Laporev. To my shame I haven’t encountered him in the past, but his account is beautifully drawn, both eloquent and committed. © 2020 MusicWeb International Read complete review

Remy Franck
Pizzicato, December 2019

The Belgian composer Robert Groslot, born in 1951, is a multi-talent: pianist, conductor, composer and painter. A picture of his own creation adorns the cover of his new CD from Naxos.

The Harp Concerto, the shortest piece on the CD, allows an interesting dialogue of the harp with various orchestral instruments. It is a lively piece that should please every listener.

And so this whole program shows the imagination of the composer, who has not only absorbed and very well processed different styles, but also distinguishes himself through brilliant orchestrations. © 2019 Pizzicato Read complete review

Records International, December 2019

The composer-conductor-pianist has become a prolific author of concerti, drawing on his experience as a virtuoso performer, all in the past decade after he gave up performing to concentrate on composition. To date he has written more than 20 accessible, tonal works, idiomatically showcasing the tension between individual and large ensemble, the Romantic ideal of a concerto that he has no problem celebrating to its bravura fullest in rich, neo-Romantic vehicles like the three here. © 2019 Records International Read complete review

Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, November 2019

Performances are first-rate, with fine results from pianist Jan Michiels, cellist Ilia Yourivitch Laporev and harpist Eline Groslot along with the Brussels Philharmonic under the composer.

Each of the three works are distinguished and well worth hearing and even savoring. Groslot’s inventive powers are high so that one does not have a deja vu feeling listening. Beyond that you should turn to the music itself and I definitely recommend you do. © 2019 Gapplegate Classical-Modern Music Review Read complete review

Barry Forshaw
Classical CD Choice, November 2019

…There is no denying musicianship on offer from Jan Michiels and co. © 2019 Classical CD Choice Read complete review

David Denton
David's Review Corner, November 2019

Born in Belgium in 1951, Robert Groslot has already enjoyed a carrier as a concert pianist, conductor and, more recently, as a self-taught and highly prolific composer. He has already completed twenty concertos for various instruments, the present disc covering three written in the years 2010 and 2011. As I commented when reviewing a previous disc, he is writing in an updated version of tonality, the result is still very modern but readily palatable to today’s audiences that have come as far as Shostakovich. They are all substantial in length but are created in one movement containing differing modes. All share the similarity of a conversation between soloist and orchestra, and it is in the orchestral writing that we discover unusual sonorities. He is also a purveyor of rhythmic patterns that attract interest, while he uses a very wide dynamic range, and offers a modicum of virtuosity to the piano soloist, the final moments of that concerto stoking-up a cataclysmic conclusion but with a surprise. He has a greater range of sounds to play with in the Cello Concerto, at times setting a course for conflict between soloist and orchestra, then contrasting that with smooth and lyrical sections. The harp has a more restricted sound spectrum, and is used here in its most traditional mode, the often busy orchestra rather hiding the lack of colours in the harp’s role. All three soloists: Jan Michiels (piano), Ilia Yourivitch (cello), and Eline Grosolt (harp) put aside the technical demands, and together with the Brussels Philharmonic, offer hugely committed performances. With the composer conducting, these are benchmark readings admirably recorded. © 2019 David’s Review Corner

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