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Colin Clarke
Fanfare, May 2017

This is an intriguing coupling, brilliantly delivered. Both Magnard and the cruelly short-lived Rudi Stephan (1887–1915) fell victim to World War I. The Magnard is by far the most substantial piece. …[it] is a heady, emotional work. Harmonically, the use of modal elements helps to steal away the power of directionality to a more French-sounding permanent floating. …Ingolfsson has the ability to hone down her sound to a thread without losing tone, and her legato is such that Magnard’s extended lines are spun magnificently. At the heart of this expressivity is a nuanced, whispered, and perfectly sustained pianissimo. Unashamedly languorous, unafraid to seek the very heart of the score, Ingolfsson and Stoupel provide a fine, insightful reading. © 2017 Fanfare Read complete review

Remy Franck
Pizzicato, July 2016

Judith Ingolfsson and Vladimir Stoupel start their project Concert-Centenaire commemorating World War I with a gripping performance of Rudi Stephan’s Groteske and a noble, sensitive and intense interpretation of Albéric Magnard’s beautiful Violin Sonata. © 2016 Pizzicato

Gil French
American Record Guide, July 2016

…stellar performance.

Every moment seems to say precisely what [Ingolfsson] intends, yet her music-making feels spontaneous rather than rigidly controlled. So does Stoupel’s. His piano breathes style, mood, and atmosphere into her breadth of contrasts.

…the players’ superb balances, articulation, assertiveness at one moment, and lyricism…are pristine. © 2016 American Record Guide Read complete review on American Record Guide

Jonathan Woolf
MusicWeb International, June 2016

This fine performance fully conveys the vortex-like proto-expressionism of the music. © 2016 MusicWeb International Read complete review

Terry Robbins
The WholeNote, April 2016

Ingolfsson’s playing is simply superb throughout…, with Stoupel providing terrific support. © 2016 The WholeNote Read complete review

Norman Lebrecht
Musical Toronto, March 2016

Judith Ingolfsson and Vladimir Stoupel bring the tragic pair vividly to life in the transparent acoustic of Berlin’s Jesus-Christus-Kirche. There’s an irresistible lyricism to Ingolfsson’s violin lines and no concession to sentimentality. These are lovely accounts of two rare works that you’ll really want to hear. © 2016 Musical Toronto Read complete review

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