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Phillip Scott
Fanfare, September 2017

Uhlig’s Ravel is a known quantity: brisk, confident, often dazzling, but at times lacking in subtlety. The Left Hand Concerto highlights his strengths. The solo part is all about technical accomplishment, from the opening flourishes through the jaunty, jazzy march to the challenging cadenza. Uhlig shines and, as on the earlier disc, González is with him all the way, providing an orchestral accompaniment of color and point that is more than mere background support. Both musicians lighten their touch to capture the insouciance of Jean Françaix in his Piano Concerto of 1936, a work of four brief movements, typically mercurial and effervescent. Again, while this is briskly played, it is not rushed off its feet and is all the better for that.

Uhlig and González give equally convincing performances of these two works. Their full-blooded approach to Boulanger’s Fantasie leaves a 2009 live recording by pianist David Greilsammer in the shade, good though it is. © 2017 Fanfare Read complete review



Alan Becker
American Record Guide, July 2017

Treat yourself to this one. Pianist, conductor, orchestra, and recording all conspire to bring a little joy to the world. We could certainly use a bit of that. © 2017 American Record Guide Read complete review on American Record Guide



Patrick Rucker
Gramophone, June 2017

Uhlig and González make a strong case for a piece [Fantasy] that alternates between anguish and tender lyricism, with orchestration that presages Shostakovich.

Ravel’s Concerto for the Left Hand makes almost as many demands on the orchestra as on the soloist. Happily, González and the German Radio players are full partners in an imaginative reading, facilitated by hand-in-glove ensemble.

At a little over 18 minutes, Françaix’s 1936 Concerto is the longest work on the disc, as well as the most recent. Of the composers represented here, Françaix was perhaps the most expert pianist. It follows that his use of the instrument is imaginative and resourceful. Uhlig’s mercurial emotional range, rhythmic acuity and light touch contribute to an intriguing and witty performance. © 2017 Gramophone Read complete review on Gramophone




Remy Franck
Pizzicato, April 2017

With seldom performed works in very good performances this homage to the French Piano Concerto is a truly important release. © 2017 Pizzicato



Lynn René Bayley
The Art Music Lounge, March 2017

From the very first notes of the Ravel, we realize that we are in for something quite momentous. Conductor Pablo González creates a virtual hurricane of sound, starting from a mere whisper and building up to a volcanic eruption of tremendous impact. Uhlig’s playing is firmly attacked and beautifully phrased and articulated; this is a musician who evidently understands his role.

…the very first recording of the Françaix Piano Concerto was made with the composer at the keyboard and Nadia Boulanger conducting, so there is a connection between two of the composers on this disc. That original recording (from 1935, I believe) was light as a feather, airy and charming in the “true” French style. Much to my surprise and delight, González manages to emulate this style in his conducting, but Uhlig remains Uhlig, employing a deep, rich tone and flowing legato. It’s a different way of looking at the music…

Great playing and absolutely inspired conducting! © 2017 The Art Music Lounge Read complete review




Norman Lebrecht
Musical Toronto, March 2017

The surprise arrives in the thick of a German radio compilation of French piano concertos (volume 2), played by the restlessly inquisitive Florian Uhlig. Opening with a rather murky reading of Ravel’s left-hand concerto, Uhlig proceeds to numb the senses with an altogether vacuous Ballade by Germaine Tailleferre, the female associate of the quasi-rebellious Les Six. Then comes Nadia Boulanger’s Fantasie (variée) for piano and orchestra. © 2017 Musical Toronto Read complete review





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