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Jed Distler, July 2016

…[disc] reveals pianist Biljana Urban to be a generally lyrical and soft-grained interpreter… © 2016 Read complete review

Emile Stoffels
Pianist, April 2015

With her compelling touch Biljana Urban transported me utterly into the rapture of this music. © 2015 Pianist

Paul Orgel
Fanfare, March 2015

Urban’s performance of the fantasy, an impressive two-movement work influenced by Hummel, communicates her obvious affection for the music…

Grand Piano provides…fine recorded sound that’s on the reverberant side. © 2015 Fanfare Read complete review

Steve Holtje
Culture Catch, December 2014

Best New Classical Albums of 2014

Here, however—more than when played by the competition—his [Voříšek’s] works come off as significant expressions of early Romanticism. In particular, Urban plays Op. 20 with magnificent breadth and weight. © 2014 Culture Catch

Gerard Scheltens
Klassieke Zaken, December 2014

…Urban’s dedication to Vorisek is most wonderful. Her style, virtuosity, understanding and enthusiasm render full justice to this composer who has undeservedly remained neglected… © 2014 Klassieke Zaken

Steve Arloff
MusicWeb International, November 2014

Croatian pianist Biljana Urban drew her influences from such pianists as Elisso Virsaladze and Tatiana Nikolayeva. She plays all this music extremely well and with obvious reverence combining a deftness of touch with impeccable pacing. She has rivals for this repertoire, particularly in the case of the impromptus, from the likes of David Gross, Artur Pizarro and Radoslav Kvapil but this is a well played and well recorded disc. Any fan of piano music from the early nineteenth century will find much to admire here. © 2014 MusicWeb International Read complete review

David Denton
David's Review Corner, October 2014

Living just thirty-four years, Jan Václav Voříšek was born in Bohemia in 1791, but spent much of his time in Vienna where he had success as a pianist and conductor. Maybe his name would have been more familiar, but he seemed torn between a career in the world of commerce, having obtained a university legal degree, which in turn lead to a position in the Austrian Civil Service. It was this backdrop that largely restricted his compositions to the last six years of his frail life. Roughly contemporary to Schubert, and in many ways writing for the piano in a similar mode, the Six Impromptus are lyric pieces that could have benefitted with some contrasting sections of a dramatic nature, particularly when the work extends past the forty minute mark. Added to which the final four are all marked Allegretto, which I suppose points to Voříšek’s intention for each to be performed as stand-alone pieces. The Fantaise was composed over a period of years, having originally dated from 1817, it was eventually finished and published in 1822. From an academic point of view it is excellently constructed, but you have the feeling of a composer still looking for a greater freedom of expression. The Sonata, published just before his death in 1825, is a child born of Beethoven, the opening movement a powerful statement; the Scherzo jagged and thrustful, while the finale just lacks the gravity needed to round off a major score. The Yugoslav-born soloist, Biljana Urban, has the nimble fingers to make light of pages covered with right hand tracery, and I will look forward to discovering more in her future volumes. The sound quality is pleasing in texture. © 2014 David’s Review Corner

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