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Ralph Graves
WTJU, April 2018

Ullman’s Piano Concerto, Op. 25 was completed in 1939. He had studied with both Arnold Schoenberg and Alexander Zemlinsky. Some influences of both can be heard. Although the work is mostly tonal, there are plenty of mordant dissonances. While that may reflect Schoenberg, the rich orchestration reminds me of Zemlinksy.

The piano solo, though, is pure Ullman. The concerto is an exciting work, that takes some surprising—though not disorienting—twists and turns. Ernst plays energetically, with a hint of impertinence.

This is music that deserves to be heard—and heard by a wider audience. Not because of the composer’s tragic life, but because of the quality of Ullman’s writing and Ernst’s performances. © 2018 WTJU Read complete review

Phillip Scott
Fanfare, November 2017

Ernst’s performance is clean and crisp, which suits the music admirably… © 2017 Fanfare Read complete review

Don O’Connor
American Record Guide, September 2017

The performances are uniformly skilled and sympathetic. The Dortmund Orchestra sounds alert and disciplined, with Feltz’s interpretation right on top of the music. Ernst’s pianism has dexterity and power, but never at the expense of sensitivity. It’s tip-top in the sonata, which demands fingerwork of the utmost virtuosity and voice-leading of the utmost clarity. © 2017 American Record Guide Read complete review on American Record Guide

Dean Frey
Music for Several Instruments, May 2017

The team of pianist Moritz Ernst, the Dortmunder Philharmoniker and conductor Gabriel Feltz provide a vivid, atmospheric reading of the piano concerto, and Ernst’s performance of the 7th Piano Sonata is passionate and mournful. The disc is filled out with a piece from happier days: the Variations and Double Fugue on a Theme by Arnold Schönberg, an intricate gem of intellectual, formal beauty. © 2017 Music for Several Instruments Read complete review

Lynn René Bayley
The Art Music Lounge, May 2017

The performance of the concerto is absolutely first-rate, thanks in large measure to the powerful conducting of Gabriel Feltz. Pianist Moritz Ernst plays with sensitivity and a wonderful lyric line, but there were a few moments when I wished he were more dynamic. The orchestra is splendidly recorded to boot: listen to the richness of the basses in the slow movement.

In the sonata, we hear Ullmann conversing, as it were, with himself. The work is ruminative, moving from section to section and tempo to tempo like a hiker going through the woods and stopping every so often to admire the flora and fauna. © 2017 The Art Music Lounge Read complete review

Records International, May 2017

The 1939 concerto really should be better known—this is only apparently its third appearance on CD—because it’s a taut, compact piece which says what it has to say without any discursiveness. The opening movement seems to foreshadow the blitzkrieg about to begin but the slow movement couldn’t be calmer and soothing while the scherzo suggests the rumbustiousness of Prokofiev or Stravinsky and the blink-and-you’ll-miss-it finale is based on a Bulgarian folksong rhythm. Rarely heard is the original piano version of Ullmann’s working of Schoenberg’s dodecaphonic Op. 19/4 piano piece. © 2017 Records International

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