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Don O’Connor
American Record Guide, January 2020

Performances are good, with strong rhythm. Oliver Triendl is a money-in-the-bank pianist whose artistry continues to pay dividends to his listeners. Van Keulen’s playing is amazing. She’s a violinist, which is serendipitous, as much of her part lies well above the textbook range for a viola. At the same time, there are strenuous passages in the lower register of the instrument. It’s a great part, but must be murder to play and keep in tune. She meets every challenge the music offers. The unnamed Hittite in the symphony gives a snappy performance with sound rhythm and intonation. These are concert performances, but there’s no audience noise. © 2020 American Record Guide Read complete review on American Record Guide



Karl F. Miller
Fanfare, January 2020

The playing of Isabelle van Kuelen is what one has come to expect of her. It is musicianship of the highest order, filled with great sensitivity and a firm control of her technique. … Triendl performs with a superb understanding of the music and makes the most of its expressive qualities. He is a remarkably fine musician. The Georgian Chamber Orchestra Ingolstadt, under conductor Ruben Gazarian, play with great precision and clarity. It is clear they have an abundant enthusiasm for the music. © 2020 Fanfare Read complete review



Richard Hanlon
MusicWeb International, November 2019

I have to say there is a spare, peculiar beauty throughout this long [final] movement, but I suspect it takes soloists of the quality of van Keulen and Triendl to draw it out. … I really wasn’t expecting the concerto to be as accomplished as this, despite its much later provenance. Frankly it’s riveting. The soloists are beyond excellent, the orchestra give their all… 

Frid’s more recent Double Concerto is of far superior quality compared to his Symphony No 3 and indubitably draws playing of greater focus and subtlety from these players. © 2019 MusicWeb International Read complete review




Hans Ackermann
kulturradio vom rbb, September 2019

The symphonic work of this Russian modernist is impressively portrayed on this CD. © 2019 kulturradio vom rbb



Records International, August 2019

The Symphony (1964) sounds broadly like Frid writing like Schnittke emulating Shostakovich (cf. the Concerti Grossi), and pre-dates the emergence of dodecaphony in Frid’s music. The first movement is tough and sinewy, truculent and knottily contrapuntal in parts. The slow movement begins and ends very like a Shostakovich lament, perhaps an orchestral transcription of the slow movement of an unknown middle period quartet. The music gains in intensity and passion, arriving at a powerful climax punctuated by rolling thunderclaps from the timpani, before subsiding into the mood and material of the opening. © 2019 Records International Read complete review



Lynn René Bayley
The Art Music Lounge, July 2019

In this new CD, conductor Ruben Gazarian conducts the still-rare instrumental music of Grigory Frid (1915-2012), best known for his 1968-69 opera The Diary of Anne Frank. The strings, playing softly in the background, are scored in close seconds or perhaps even closer than that, sustaining long, unusual chords as a backdrop to the soloist. The piano plays sparse single notes, mostly in the bass line, as a sort of sad commentary on the proceedings. Both soloists play with tremendous sensitivity… 

This is quite an interesting CD and a real ear-opener for me! © 2019 The Art Music Lounge Read complete review



Christian Hoskins
Gramophone

With outstanding performances of all three works and sound of demonstration quality, this recording is a must-hear for anyone interested in Russian music of the Soviet era. © 2019 Gramophone Read complete review on Gramophone





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