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Carsten Dürer
Piano News, November 2016

All in all this CD is an exciting and brilliantly played recording with a programme that leaves us curious to hear more of such music from Denmark. © 2016 Piano News

Peter Dürrfeld
Kristeligt Dagblad, September 2016

The 35-year-old Swedish pianist Carl Petersson demonstrates a great sense of command and he has an impressive technique on this CD, which seems to have been conceived from many people’s affection and care. © 2016 Kristeligt Dagblad

Scott Noriega
Fanfare, September 2016

Entitled “Contemporary Danish Piano Music,” the following recording is noteworthy for bringing to light a number of works that have either been forgotten or little explored since their composition.

​Throughout this recital Carl Petersson proves himself an ideal guide to this music. Always attentive to matters of detail, he too has internalized this music to such an extent that he can let go and just play the music when needed. He has a fine color palette, an acute sense of articulation, and a commanding technique. For those interested in exploring the twentieth and now twenty-first centuries in regards the Danish piano, now there’s no excuse to not. Excellent pianism, fine program notes, intriguing music, and all recorded in excellent sound—on my stereo, it sounded as though I were sitting in the same hall as the pianist. For what more could one ask? © 2016 Fanfare Read complete review

Stuart Sillitoe
MusicWeb International, May 2016

The playing of Carl Petersson is excellent throughout. His control, especially in the faster more virtuosic sections is as measured as in the slower and more meditative moments. The sound is also excellent with the acoustic of the hall being most pleasing. © 2016 MusicWeb International Read complete review

David Denton
David's Review Corner, May 2016

‘Contemporary Danish Piano Music’, brings together early 20th century works by Per Nørgård, and two of his gifted pupils, Finn Lykkebo and Lars Aksel Bisgaard. Norgard was just seventeen when in 1949, he completed the Piano Sonata and Toccata, his new look at tonality bringing a ready accessibility to both works, the outer movements of the sonata propelled by some catchy rhythms whose repetition has minimalistic tendencies. By complete contrast, the central Andante is in the mood of a Pastoral. Certainly a major challenge to the soloist, the Toccata is in three sections, the first looking back at Prokofiev; the central Fuga moulded on Bach, and a finger-knotting conclusion. Moving forward eight years the Sonate and we find a more modern sound spectrum, though still with the same immediate attractions. For anyone coming new to the work, the many changing moods contained within a free-flowing one movement environment are stimulating. As a person, Finn Lykkebo was not a Nørgård disciple in his short life, and in his music he was even further removed, his music continuing where Weberen left off. The five Tableaux, finally revised in 1978, are all short, atonal and never looking for easy listener approbation. In 1974, Lars Aksel Bisgaard seemed to be walking the same path in Stadier, its four sections moving between a traditional form of melodic construction and the Second Viennese School. That he can compose in the style of pleasing salon scores from the first half of the 20th century comes in the two short pieces that complete the disc. As most are world premiere recordings, I will take Carl Petersson’s performances at face value, his crystal clean articulation being a pleasure to encounter. Exceedingly good sound quality. © 2016 David’s Review Corner

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