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Peter Burwasser
Fanfare, November 2017

Tatiana Blome is a superb champion for this surprisingly powerful music. She plays with iron-clad command, lovely tonal coloring, and a strong sense for the drama of the works at hand. Holger Groschopp is a worthy and more than able partner in the four-hand music. This is one of the most compelling sets of “obscure” music I have heard in some time. © 2017 Fanfare Read complete review

Carsten Dürer
Piano News, November 2017

This is music that should be heard and played, music that was falsely considered to be “outlawed”, which due to its very own style represents a part of German music history. It is good that Tatjana Blome devotes herself so profoundly to this music. © 2017 Piano News

Bruno Repp
American Record Guide, September 2017

Tatjana Blome, whose earlier recording of sonatas by Frommel—another forgotten German composer and contemporary of Jacobi…plays the solo pieces with enthusiasm. Holger Groschopp is a sympathetic partner in the duo works. The recorded sound is lush, and there are excellent liner notes by Anthony Short. © 2017 American Record Guide Read complete review on American Record Guide

Classica, September 2017

The piano works for two and four hands of the German [Jacobi] evoke Reger and Hindemith, in so far as the sonatas, choral work and miniatures are concerned, recorded with much verve by Tatjana Blome and Holger Groschopp. Most of the pieces are world première recordings. Deserves a listen. © 2017 Classica

David Denton
David's Review Corner, May 2017

Though known in the saxophone and accordion world, the name of Wolfgang Jacobi has, in recent years, slipped from the world of major recognised composers. As a German Jew, born in 1894, his life was full of peaks and troughs having decided at the age of twenty three to dedicate himself to composition. The rise of the Nazi party brought that to an end, describing his work as ‘degenerate’, and causing him to move to Italy. Financial reasons forced him to return to Germany where he was fortunate to avoid internment as a Jew, but he lost most of his composed music in an air-raid, before finally being restored to the upper echelons of teaching in the late 1940’s. As the second of these two discs plays for only forty minutes, I presume this is all that remains of his works for piano. The first disc covers compositions before the Second World War, and though ‘modern’, the music is most likeable in its affection for tonality, the Passacaglia and Fugue having an affinity with Reger that continues in the seven short pieces of Suite Im Alten Stil, both works dating from 1922. The two Sonatas are in three movements and owe something to Prokofiev in their harmonic language—I presume the first one was destroyed in the war—and I would commend them to any pianist looking for something new to enliven their programmes. The second disc is largely given to music for four hands that date after the Second World War, though Jacobi’s style had changed little. Music for Two Pianos is very serious in the two opening movements with a naughty concluding Scherzo, while the Miniaturen are twelve short dance movements in different tempos. The Sonatina from his seventy-fourth year has the feeling of a weary old man trying his best to be jolly. There is total clarity of articulation from the German pianist, Tatjana Blome, who is then joined by Holger Groschopp in the works for four works. The sound quality from Bavarian Radio is outstanding. © 2017 David’s Review Corner

Records International, May 2017

A half-Jew who survived the war in Berlin by keeping his head down, Jacobi was known before that for his advocacy of the saxophone (a “degenerate” instrument) and after the war as a teacher, administrator and composer of works for the accordion. Nothing here is German in the sense of dense or heavy; the two earliest works here are from 1922, an ice-blue Passacaglia and Fugue and a neo-baroque suite with some echoes of Grieg’s Holberg Suite. The concise three-movement sonats of 1936 and 1939 still tend to the neo-baroque, a slower than usual Siciliano in No. 3 particularly pleasant, while the Miniatures are at times reminiscent of Ravel and the late (1968) Sonatine suggests the pre-war Paris of Poulenc and Martinu. © 2017 Records International

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