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Allen Gimbel
American Record Guide, March 2019

The music is in Lindberg’s newfound quasi-tonality with Ravel in the not too distant background. I is dramatic, the sullen II ends with a lengthy cadenza, and a suitably brilliant finale closes out. People familiar with Lindberg’s work will find it surprising, as I did, and the traditional classically oriented or romantically oriented listener will find much to admire. So this was an unexpected surprise. Mr Zimmermann is an impressive collaborator. Playing and sound are exceptional. © 2019 American Record Guide Read complete review on American Record Guide

Klassisk, February 2019

The music isn’t difficult to listen to… © 2019 Klassisk

José Antonio Tello Sáenz
Scherzo, February 2019

Here are two admirable works which take oneself to the concert hall, impressive and full of immediacy, appropriately summed in a record deserving of just recognition. The interpretations, to top off the glory, are insurmountable. © 2019 Scherzo

BBC Music Magazine, December 2018

In the Violin Concerto No. 2 Frank Peter Zimmermann, for whom the work was written, is a serene soloist, rock solid throughout and cool as the proverbial cucumber through every virtuoso challenge. © 2018 BBC Music Magazine

Bob McQuiston
Classical Lost and Found, November 2018

The FRSO goes on to give a superb account of Tempus fugit. Moreover, Maestro Lintu’s attention to rhythmic detail, phrasing and dynamics, brings to life music that in lesser hands could come off sounding somewhat amorphous. © 2018 Classical Lost and Found Read complete review

David Kettle
The Strad, November 2018

Under Hannu Lintu, the Finnish Radio Symphony Orchestra plays with such clarity and insight that it feels like a beautifully balanced clockwork mechanism—albeit one with a mightily exuberant spirit. © 2018 The Strad Read complete review

Alain Steffen
Pizzicato, October 2018

Just a bit long, Magnus Lindberg’s Tempus Fugit is one amazingly scored and mostly gripping piece. The Second Violin Concerto is perfectly structured and shaped, and Frank Peter Zimmermann’s and Hannu Lintu’s account is excellent, with a finely nuanced playing by the soloist and a very transparent orchestra. A great recording! © 2018 Pizzicato

Stephen Barber
MusicWeb International, October 2018

The soloist in the concerto is Frank Peter Zimmermann, whom I know best from his splendid recording of the two Szymanowski concertos, with which this of Lindberg has some affinity. He gave the premiere and has since played the work several times, with different orchestras. Here he gives a commanding and very beautiful performance. The excellent Finnish Radio Symphony orchestra have a track record in recordings of Lindberg under various conductors, including one previous one under Lintu… © 2018 MusicWeb International Read complete review

Andrew Mellor
Gramophone, October 2018

Zimmermann gives the piece his considerable all…

Tempus fugit (2016–17) is more of a riddle. This is Lindberg looking back on himself: revisiting, courtesy of a long period of research, harmonic techniques he explored in the late ’80s. …The music is still built from the bottom up but the five-part piece never really soars, and the devolution into chamber-like textures feels mannered, robbing the music of that essential Lindberg quality: the feeling of a mammoth single structure heaving its way along. It is characteristically wise of Lindberg to have taken stock in Tempus fugit but the process’s ripest fruits may be still to come. © 2018 Gramophone Read complete review on Gramophone

Records International, September 2018

 The composer consciously avoided frivolous showmanship, though real solo virtuosity is present in abundance, preferring an epic, cogent argument of quasi-symphonic scope. The work is sumptuously orchestrated and is among Lindberg’s most lusciously neo-romantic scores, cast in traditional three-movement form played without breaks, with an extended cadenza in the 2nd movement. © 2018 Records International  Read complete review

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