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Michael Church
BBC Music Magazine, May 2018

…Anis Fuleihan, whose Piano Sonata No. 9 Tatiana Primak-Khoury plays with easy authority—like everything else on the disc—draws inspiration from Bartók and Stravinsky, but with this music one senses a deeper identity-unease. © 2018 BBC Music Magazine  Read complete review

Jacqueline Kharouf
Fanfare, November 2017

Lebanese Piano Music, performed by Tatiana Primak-Khoury, is an album of works composed exclusively by Lebanese composers, who each incorporate a variety of influences and styles that inspire and inform their compositions. From the complex rhythmic patterns of traditional Arabic music to the more contemporary compositions of one of Lebanon’s most renowned living composers, this music is a showcase of the diversity of possibilities from composers with a similar cultural background. Furthermore, the album demonstrates a progression of classical music—a movement away from the influences of Europe to a sound that is uniquely contemporary and specifically Lebanese. © 2017 Fanfare Read complete review

Sang Woo Kang
American Record Guide, May 2017

All of these works require strong technical command, and Ukrainian-Lebanese pianist Primak-Khoury meets these demands. Fuleihan’s Piano Sonata 9 is my favorite from the set. Full of different timbres, the work has elements of folk intermingled with virtuosic passages. Primak-Khoury emphasizes the tender and sensitive moments. In contrast, the percussive ‘Tre Cicli’ is a tour de force. The last movement even sounds militaristic. The ‘Canzona e Toccata’, with harmonic language chromatic on the verge of atonality, is an exciting work reminiscent of the Samuel Barber piano sonata. Baz’s Esquisses is playful, in the vein of Bartok’s Romanian Dances, and sounds highly influenced by Lebanese musical idioms. © 2017 American Record Guide Read complete review on American Record Guide

Henry Fogel
Fanfare, March 2017

Everything about this CD is right. The piano sound is warm and full, neither too closely nor too distantly miked. Pianist Primak-Khoury was born and trained in Kiev, with its great musical tradition, but has lived in Lebanon since 1998 and she has clearly absorbed that country’s music and its culture. Nothing here sounds like a newly learned reading. Each performance carries conviction and abandon, and a wide range of keyboard colors. © 2017 Fanfare Read complete review

Peter J. Rabinowitz
Fanfare, March 2017

Primak-Khoury plays with sensitivity, confidence, and technical panache—and while the sound is a notch below state-of-the-art, there are no serious complaints. Well worth your attention. © 2017 Fanfare Read complete review

Colin Clarke
Fanfare, March 2017

A terrifically rewarding and varied disc, then, offering a plethora of world premiere releases. Recording standards are excellent. © 2017 Fanfare Read complete review

Jacqueline Kharouf
Fanfare, March 2017

This album is a compilation of world-class compositions performed by an artist with an awareness of, and appreciation for, the weight and quality of each note. © 2017 Fanfare Read complete review

Gary Higginson
MusicWeb International, February 2017

The Lebanese pianist Tatiana Primak-Khoury has found a way of capturing the character of each work and getting the best out of the music. In this she is helped by a vivid yet spacious recording.

…I have much relished the pieces recorded here. I would advise anyone with an ear for the unusual to search out a copy. There is much to discover and it will certainly make this reviewer look out for more music by these fascinating and little known men of Lebanese music. © 2017 MusicWeb International Read complete review

Steve Arloff
MusicWeb International, December 2016

This disc is yet another demonstration of the universality of music and how difficult it is to pigeon-hole it, but then, why should anyone want to, for music simply is a unique art form that is best left alone to speak for itself. Tatiana Primak-Khoury is a sensitive player, who has managed to convey the multiplicity of moods the composers featured displayed in their music and is a great ambassador for this small country’s rich musical heritage. It is an extremely interesting and highly enjoyable disc. © 2016 MusicWeb International Read complete review

Records International, December 2016

Given Lebanon’s position—balanced between East and West, a melting-pot of religions with a turbulent history—and the fact that its composers include expatriots from elsewhere and those who became expatriots in other countries, it is hardly surprising that the music on this CD is as much a mélange of styles as it is. Everything here is perfectly approachable in one way or another. Traditional Lebanese music puts in an appearance here and there—the theme of Succar’s very classical, entirely tonal variations, for instance, one of Baz’ otherwise French-Impressionist Sketches, some inflections in Khoury’s Sonata. Fuleihan’s four-movement Sonata is twentieth-century mainstream—the composer spent many years in the USA, and there are traces of Prokofiev and Stravinsky; Khoury’s is the most modern piece here, in an acerbic vocabulary, lean and economical, highly expressive and pessimistic in mood, with a ‘wind over the graves’ finale. Gelalian, likewise, draws inspiration for his highly chromatic, tonal pieces from his native Armenia in rhythm and harmony, and western Europe in pianistic idiom. © 2016 Records International

David Denton
David's Review Corner, November 2016

Lebanese composers are little known in the international world of classical music, this disc evincing there resides a wealth of new creative ideas worth discovering. It covers three generations, the opening work from Anis Fuleihan—his Ninth Piano Sonata composed in 1970—showing that atonality plays a significant and active part in modern Lebanese thinking. There are influences from northern Europe mainstream modernists, the opening movement full of unusual colours superimposed on a style from the early nineteen hundreds, its skittish finale straight from Paris in the 1930’s. Move forward to the present century for the Third Piano Sonata of Houtaf Khoury, a composer trained in Russia, and now a pessimist as to worldwide political dictates. That was the motivation in writing a turbulent score expressing the fear that the only way out of present Lebanese problems is “in the graveyard”. Technically it is often very demanding, the soloist on the present disc, Tatiana Primak-Khoury, being the composer’s wife. Boghos Gelalian was born in 1927 and lived through all the various troubles in his country, stoically teaching the next generation of pianists. Though he earned money wherever he could, and often as a nightclub pianist, he was a highly progressive composer who recast traditional music into the style of experimentalists writing in the mid-twentieth century. The two short pieces are highly original, and if they carried the name Prokofiev they would be hugely popular. Georges Baz lived a double life, his music, a hand-down from French Impressionists, written while he worked as the head of the Central Bank of Lebanon. If for nothing else I beg you to buy the disc to hear his seven Esquisses from 1959. Finally returning to music in a style of yesteryear in a short piece from Toufic Succar. Often with dazzlingly fast fingers, I take Primak-Khoury’s performances at face value and in outstanding recorded sound. Discover the disc and be pleasantly surprised. © 2016 David’s Review Corner

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