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Jim Westhead
MusicWeb International, November 2019

I have very much enjoyed the two major, more mature works on this well recorded, performed and extremely long CD. The booklet notes are informative, occasionally technical and plead Pfohl’s case eloquently.

It would be nice if Pfohl’s lost Sea Symphony were to come to light, because on the showing here, it could well prove to be a lovely piece. © 2019 MusicWeb International Read complete review



Records International, November 2019

Esteemed as one of Germany’s leading music critics, Pfohl never lost a passion for composition. He wrote highly individual works for his own instrument, the piano, conceiving cycles that reveal harmonic daring and sophistication, often evocative of developments in impressionism. As Strandbilder (‘Beach Pictures’, from 1892) shows, he mastered tonal painting- while in the compositional unity of the 1894 Suite elegiaque (five pieces totaling 42 minutes), Bohemian and Russian elements mingle with the influence of one of his great heroes, Grieg. The latter is paid homage in a huge 18-minute rhapsody from 1882. © 2019 Records International



David Denton
David's Review Corner, October 2019

At very differing times, Ferdinand Pfohl and myself have lived very parallel lives in the world of music, much of his eighty three years been given to music journalism.

He was also successful in the world of composition with a considerable list of works that were performed and admired during his lifetime, though today it is almost all forgotten. Indeed this seems to be the only recording of his music presently available, the twelve tracks of piano music written between 1882 and 1894. I suppose, like most music critics, he fall into the trap of writing in much the same style as the music he reviewed, though don’t let that deter you from a very attractive release. The two most extended works rely on scene painting, the first Standbilder (Beach Pictures), resides in the world of Grieg, yet with the ability to capture so many differing moods, the thematic material always highly attractive as we move from the opening, Hunting the Waves, to the final bouncy Frisian Dance Scene. The Suite Elegiaque is in five movements conventional in layout with a warm and lyric central Moment Musical followed by a fast and gleeful Scherzo bohemien. Don’t be mislead, the final item is a Nordic Rhapsody in the style of Grieg, but not using themes of that composer. Dating from 1882, it was his first large-scale piano work. Yes he was not yet in the world of this sizeable score, but it showed promise. Certainly the young German-born pianist, Jamina Gerl, has found an affinity with Pfohl who she obviously enjoys. Now maybe we will have some of his music from his mature years? © 2019 David’s Review Corner





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