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Mel Martin
Audiophile Audition, January 2016

It’s highly listenable. Audio-wise this disc is a model of how a high resolution disc should be offered to the public, marrying physical media with downloads.

The recording is laid back but a stunning listen…

Peter Gregson is certainly a talented musician, and I found the entire album a worthwhile musical journey. The musicianship is of a very high caliber, and the recording is of the highest standards of the recording art… Recommended! © 2016 Audiophile Audition Read complete review

Peter Quantrill
The Strad, December 2015

The pace Gregson sets is as steady as you’d expect from a musical associate of Max Richter but the harmonies are barer, edged with flint. © 2015 The Strad Read complete review

David W Moore
American Record Guide, November 2015

Gregson plays with sensitivity, and the chamber orchestra joins him well. The recording is sonorous and clear. © 2015 American Record Guide Read complete review on American Record Guide

Lawrence D. Devoe, MD, October 2015

The integration of both new and old music sources is pure genius and produces pieces that will take listeners on emotional journeys that are both reaffirming and profoundly moving. In our present day and age, it is truly rare to hear a musical voice that is on the one hand so “touching” and on the other so apropos for those of us who are trying to cope with angst of the new millennium.

…Highest recommendation. © 2015 Read complete review

Brian Wigman
Classical Net, October 2015

The music on this particular album is indeed very beautiful. All of it feels strikingly original; the meditative and repetitive moments don’t call anyone else quite to mind. © 2015 Classical Net Read complete review

Chris Redfearn
a closer listen, October 2015

Even the most rhapsodic of compositions frequently have moments of controlled calm—a collective breath for the musicians to steel themselves for the flamboyant, frenetic finale. Such moments either serve to heighten the intensity of the crescendo that ensues, or are a kind of emotional crescendo themselves, encouraging more attentive listening and forging closer connections between players and listeners. Gregson’s third self-composed [disc], Touch, is a suite of such moments—an accompaniment to the day’s emerging dawn or suffusing dusk rather than its frenetic middle.

2015 could well be the year that Peter Gregson fully emerges into the spotlight alongside the classical luminaries of today. © 2015 a closer listen Read complete review

Textura, October 2015

As one might expect from a recording often featuring Gregson alone, the music is intimate in nature and perfectly tailored for late-night listening. The beauty of his playing is captured to stunning effect in “Chorale,” where he layers multiple cellos into a five-minute setting of powerful melancholic character, and as affectingly in “Turn” and “Lost,” deeply affecting settings that make the strongest possible arguments on behalf of his gifts as a composer and musician.

The five pieces on which Inscape appears are especially luscious… © 2015 Textura Read complete review

Doyle Armbrust
WQXR (New York), August 2015

It is an exquisite thing, when music raises a mirror, impelling the listener past his last defense before the beautiful, or despairing, or anticipative, or terrible, or emboldened thing is felt. At its basest form, it is emotional manipulation, but in the case of Peter Gregson’s “Touch,” it is emotional bolstering—the kind that keeps us aural junkies itching for that sonic bump when we’re feeling all the feelings.

Whether the listener’s current state of mind lives in the melancholy, the nostalgic, the sanguine, or somewhere in between, Gregson offers a fertile soundtrack here, delivered in vivid detail. © 2015 WQXR (New York) Read complete review

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