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Janet Banks
The Strad, December 2013

For the opening of the E minor Sonata, Krijgh eschews a rich, full C-string tone for a more hollow, questioning timbre, and a distant, muted second theme. However by the time she reaches the fiery cross-string passage she produces a remarkably expansive, full-bodied sound…the range of sounds she draws from this instrument, the bitingly aggressive staccatos and passionate portamentos, are ideal for the turbulent contrasts of Brahms’s writing. The F major Sonata gives Krijgh even more rein for her deeply lyrical playing, with cello and piano rising and falling naturally with the swell of the music and poignantly expressive vibrato in the Adagio affettuoso. © 2013 The Strad Read complete review

Geoffrey Norris
Gramophone, December 2013

The E minor (No 1) starts beautifully, with Harriet Krijgh’s mellow but muscular cello tone melding well with Magda Amara’s piano playing…As interpreters…Krijgh and Amara are assured. There is expressive strength here, coupled with verve and clear thinking about structure and melodic contour.

Both Krijgh and Amara unleash tremendous passion in the first movement [of the F major Sonata (No 2)] and the fluctuations between ardour and meditation are fluently imagined. They can summon tenderness, too, for the slow movement. The firm drive of the scherzo is nicely set against the serenity of the Trio; and the finale is of a piece with a confident interpretation of the sonata as whole. © 2013 Gramophone Read complete review on Gramophone

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