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David Barker
MusicWeb International, December 2017

Three underappreciated works from the piano trio canon, one from each of the homelands of the players, given performances that are unlikely to be bettered any time soon. The Babajanian is an unsung gem, and the Lincoln Trio bring out the melancholy in the slow movement and the dance rhythms in the final wonderfully. © 2017 MusicWeb International

Scott Noriega
Fanfare, November 2017

It’s a great idea for programming: one trio written by a composer from the same country as a member of the ensemble, and each work chosen is a spectacular representation of each composer. The English are represented by Rebecca Clarke’s trio. It begins the recital with its thunderous and passionate opening movement, leading eventually to more lyrical strands. It is Modernist fury, with a slight tint of classical poise. Arno Babajanian’s trio, the work chosen to represent Armenia, works almost opposite to Clarke’s: His work begins slow and quiet; it leads the way for an intense and vivacious finale. It is overall more lush and Romantic in sound than the previous work. The Swiss are represented by Frank Martin’s slightly more popular trio on Irish tunes, which beautifully closes out the recital. His cool-headed work—never overly emotive, but always evocative—is beautifully conceived by the Lincoln Trio. The Gigue which ends the recital transports one to a small pub in the country, making one eager too for a Guinness (or perhaps a fine whiskey) to accompany the spirited work and the spirited playing. © 2017 Fanfare Read complete review

Alexandra Coghlan
Gramophone, March 2017

It’s easy to hear why this album, ‘Trios from Our Homelands’, which sets Rebecca Clarke’s Piano Trio against those by Frank Martin and Arno Babajanian, has been nominated for a 2017 Grammy. There’s a fire and urgency to these performances that pleads eloquently for this little-known repertoire. The Clarke is the standout, how ever, with its complex set of recurring themes, a slow movement of startling, passionate beauty, and harmonic language that, at its extremes, reaches towards Scriabin. © 2017 Gramophone

Ralph Graves
WTJU, February 2017

The Lincoln Trio is on fire throughout these works. I heard an exuberance throughout the recording as if the trio were genuinely thrilled to be playing this music. Their performances are both near-perfect technically and warmly expressive. It’s a combination that benefits both the music and the listener. © 2017 WTJU Read complete review

David Barker
MusicWeb International, January 2017

Again the Lincoln Trio give an exemplary performance, catching to perfection the melancholy beauty in the first two movements and the Armenian dance rhythms in the finale.

The Çedille engineers have captured the Lincoln Trio in very natural sound, clear and precise but not too close, so there are no performer-derived sniffs or piano mechanism clunks.

So we have three cracking works in performances that are as good as any, with high production values. What you are waiting for? © 2017 MusicWeb International Read complete review

Stephen Wright
American Record Guide, January 2017

The recording is powerful, clear, with honest balance among the players, the piano’s bass notes well caught, full and resounding—essential for the beefy piano textures of Babadjanyan’s trio. Both strings have sweet and manicured tone and intonation, yet plenty of fire without harshness in fortissimo passages. You’re in good hands with these fine musicians and Cedille’s excellent sound. © 2017 American Record Guide Read complete review on American Record Guide

Maria Nockin
Fanfare, January 2017

[The performers’] interpretation is good and their playing exquisite, but the late 20th-century sound cannot compete with Çedille Records’ crisp, clear ambience. The Lincoln Trio has presented us with a most interesting CD and I think chamber music lovers will want to own it. © 2017 Fanfare Read complete review

Colin Clarke
Fanfare, January 2017

Hats off to Aznavoorian’s sheer virtuosity, and to the power of her sound (losing not a jot of tone) at the higher dynamic markings.

The Lincoln Trio’s performance is a remarkable achievement, and one hopes it will win many friends for this composer. © 2017 Fanfare Read complete review

Hannah Nepil
Gramophone, December 2016

…the members of the Chicago-based Lincoln Trio pride themselves on their programme-making skills. Each of these pieces draws on folk music without compromising its individuality; each is a mix of lyricism and biting early-20th-century dissonance. Most importantly, each is fascinating in its own right, and deserves far more attention than it gets.

…there’s much to appreciate in this music: the rhythmic ingenuity, its sense of charm. The Lincoln give it all the punch and vigour it deserves but it is the poetry of their playing elsewhere in the programme that really makes this disc. © 2016 Gramophone Read complete review on Gramophone

Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, October 2016

Based on this fine program, I would say that the Lincoln Trio is among the elite of such outfits playing today, capable of extraordinary levels of nuance and detail, filled with admirable sympathy and devotion to the works here presented.

Heartily recommended. © 2016 Gapplegate Classical-Modern Music Review Read complete review

Steven Ritter
Audiophile Audition, October 2016

The Lincoln Trio, named for the star of the American heartland, plays with spirit and determined vibrancy in an extremely worthwhile recital. © 2016 Audiophile Audition Read complete review

Fiona Maddocks
The Guardian, October 2016

The Lincoln Trio give shapely and impassioned performances of these three unfamiliar 20th-century chamber works. …The poetic, song-like violin solo in the slow movement is beautifully captured by violinist Desirée Ruhstrat, with warm support from David Cunliffe (cello) and Marta Aznavoorian (piano). …Most elusive is the trio by Rebecca Clarke, a mix of dissonance and passion that seems to exist in a musical world of its own. © 2016 The Guardian Read complete review, September 2016

…this is a highly intelligently assembled program featuring musicians—both performers and composers—who clearly have communication with the audience in the forefront of their minds. …Switzerland’s Frank Martin…is the best-known composer on the disc, and his Trio sur des melodies populaires irlandaises, if scarcely a work of great significance, is tuneful, artfully assembled and highly enjoyable to hear, the Irish melodies pervasive and handled by composer and performers alike with real flair. …What is exceptional on this disc is not only the excellent playing but also the underlying thoughtfulness of the program, taking what could have been mere thematic gimmickry and turning it into a truly revelatory exploration of 20th-century musical thinking by composers in three very different parts of the world. © 2016 Read complete review

James Manheim, September 2016

Perhaps the Swiss work, Frank Martin’s Trio sur des mélodies populaires irlandaises, is the highlight here, with its compact, rhythmically shifting elaboration of an Irish jig in the finale making a good place to start with sampling. But both of the other pieces are equally good. …The players approach this music with freshness and technical aplomb. A highly enjoyable release of music from the 20th century mainstream. © 2016 Read complete review

Joshua Kosman
San Francisco Chronicle, September 2016

…fine, fiery readings from these musicians. Pinning the respective nationalities of the composers to the heritage of the ensemble’s three members—violinist Desirée Ruhstrat, cellist David Cunliffe and pianist Marta Aznavoorian—is a useful gimmick. It allows for a potent account of the 1921 Piano Trio by the English composer Rebecca Clarke—marked by impassioned textures and fine-spun phrasing—and the “Trio on Popular Irish Melodies” by the Swiss master Frank Martin. But perhaps the most striking revelation is the Armenian composer Arno Babadjanian, whose 1952 Piano Trio sounds fluid, inventive and robustly expressive. © 2016 San Francisco Chronicle Read complete review

David Hurwitz, August 2016

…a splendid concert of three excellent 20th-century chamber works, at least two of which will likely be new to most listeners, played with proprietary zeal and recorded with perfect discretion and naturalness.

The ensemble writing throughout is intense, melodically fresh, and altogether masterful, its three movements well-proportioned, and the Lincoln Trio simply plays the bejesus out of it. © 2016 Read complete review

Lisa Flynn
WFMT (Chicago), August 2016

For its latest album, the Lincoln Trio (violinist Desirée Ruhstrat, cellist David Cunliffe, and pianist Marta Aznavoorian) has crafted a highly personal program of inventive 20th-century piano trios by composers from the individual players’ ancestral homelands of Switzerland, England, and Armenia, respectively. © 2016 WFMT (Chicago)

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