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Nigel Harris
MusicWeb International, August 2020

Clein’s gut-stringed sound has an appealingly light, gentle mellowness, and allows her both to spin shapely, lyrical lines and to invest her playing with plenty of nuance and a wide range of colour. Moreover such period manners are stylishly supported and abetted by Michael Hofstetter and his bizarrely named Recreation—Großes Orchester Graz… All the music-making is characterized by Clein’s trademark passionate commitment, but it is never showy or self-indulgent. © 2020 MusicWeb International Read complete review



Charlotte Gardner
Gramophone, August 2020

Period performance isn’t necessarily something naturally associated with the British cellist Natalie Clein but this live recording of Haydn’s two cello concertos, partnered with the earlier Adagio cantabile in G, taken over two sets of 2017 concerts at the Stefaniensaal, Graz, immediately grabs the attention for being so very thoroughly of that world.

…There’s also plenty of opportunity to enjoy Clein’s warmly shining tones over more legato playing—the D major Concerto in particular is awash with proudly singing lines, and her aria-like poetry across the Adagio cantabile’s long lines is exquisite. In fact, it’s those two works that stand for me as the album’s highlights… © 2020 Gramophone Read complete review on Gramophone



The Strad, August 2020

Subtle and elegant performances of Haydn that also thrill… throughout [Natalie Clein] shapes phrases with whimsical musicality, introducing winning subtleties of rhythm and expression and a striking variety of bowing and instrumental colour. © 2020 The Strad




BBC Music Magazine, August 2020

Natalie Clein’s impetuous virtuosity and sensitivity moulded phrasing with a subtle feeling for Classical rubato… make the very most of the many-changing modes and moods of these two works… A real pleasure. © 2020 BBC Music Magazine




Remy Franck
Pizzicato, June 2020

The long orchestral introduction to the D Major Concerto already shows the overall concept of these performances. There is no fast-paced and groovy playing here, as it has become usual (and possibly quite attractive), because Michael Hofstetter allows music to be become rich in detail and colourful, dynamically very variable and with spontaneous accentuation, elegant and dance-like. Playing on gut strings Cellist Natalie Clein is fully committed to Hofstetter’s conducting. Ornamentation, and accentuation do not interfere with the flow of music at any moment, and so the two Haydn concertos are really enjoyable in these beautiful interpretations.

Finally, there is also a very lyrical and touching interpretation of the Adagio cantabile from Haydn’s 13th Symphony, in which the composer has an elegiac cello solo accompanied by the strings. © 2020 Pizzicato





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