"La proposition se double d'un défi technique, puisque l'interprète a choisi pour l'enregistrer une copie de l'instrument français que possédait Beethoven : un « piano en forme de clavecin » dont la sonorité et la mécanique se démarquaient de la facture viennoise."

" Alte Musik in den Händen dieser jungen Musiker:innen hervorragend aufgehoben ist. Die reiche Welt des iatlienischen Barock durchstreift das Ensemble sinnigerweise vom Ausgangspunkt Corelli her und lässt neben Klassikern des Repertoires ("La notte") auch weniger vertraute Stücke wie Albinonis raffinierte Sinfonia a cinque (eigentlich eine Sonata da chiesa) oder Galuppis schon zum galanten Stil hinübergleitendes Concerto in g-moll erklingen, das doch immer noch in den Ideen der Vorgängergeneration wurzelt. Hier, wie auch bei Corellis Concerto grosso und den Vivaldi Werken musiziert das Ensemble in aufgelichtetem, violinbetontem Ton, mit viel Freude am Herausarbeiten der Struktur und dem Evozieren einer flirrenden Spannung, die im Eingangssatz vo "La notte" ihren - fast schon überreizten - tonmalerischen Höhepunkt findet. "

"The production alone is enough to make this album a contender for the Best of the Year. [...] They [Verità] have sweetness and vigor. The swelling that comes from natural bowing is not done here; sustained notes are smooth. [...] Bravo to all involved! Sometimes reviewing can be a pleasure."

"His control over dynamics, his retention of tonal body even at pianissimo, and the deeply brooding atmosphere that he brings to the sonata all make this a unique listening experience. As the music’s dramatic fervor builds in the finale, Wispelwey’s reading leaves you drained."

"the engineering is spacious, resonant, warm, and balanced."

"Como tal iniciador tiene todas las libertades a su alcance. También, todas las responsabilidades: traer al salón nobiliario los ritmos populares, alternar el jolgorio con la melancolía, saber frenar a tiempo el discurso, someter la forma abstracta a la sensualidad concreta y viceversa, anunciar lo romántico sin clausurar lo galante. Así lo han entendido estos intérpretes, depurados de sonido, seguros de fraseo, bien entrados en el estilo boqueriniano y excelentes administradores de las velocidades y dinámicas conseguidas respetando los exquisitos matices de las partituras."

"Tore Tom Denys: Adriaen Willaert’s little-known St John Passion is his only surviving setting of the Passion of Christ. With this recording, I want to prove that a compositional innovation took place in the Renaissance that aimed to make the recitation of the Passion on Good Friday (which was then traditionally sung in unison, Gregorian chant) more musically interesting."

"Making it even more attractive to library collections is the fact that this release marks the world-premiere recording of Boccherini’s quintet in C major (Op. 46/3 G361), a work with a slightly startling Sturm und Drang-y vibe in the minuet movement. But there are plenty of smaller surprises throughout the program, and everything on this album is a delight. The playing and the production quality are both outstanding. Strongly recommended to all libraries."

"En las obras de Telemann se percibe una fuerte inclinación hacia el espíritu Galant, mezclado con un toque de Sturm und Drang, mientras que en las de Bach queda representa- do su espíritu reservado y su tradición contrapuntística."

"Je hoort de expressieve dynamische mogelijkheden – dof dreunt de treurmars, vrolijk klingelt het scherzo in de soepele toetsen. In de finale legt de hamerende bas andere details bloot."

"Die Musik präsentiert sich dabei im satten und gleichzeitig weichen Quintett-Klang, dessen verschiedene Register gut durchhörbar bleiben. Pulsierende Rhythmik und elegante Bögen, Vitalität, ein geschickt- dezentes Balancieren mit der Agogik sowie das neugierige Entdecken der Musik – vor allem natürlich des C-Dur-Quintetts – sind die Markenzeichen dieser Aufnahme, die Akzente zu setzen vermag. Denn aufgenommen in der Konzerthalle des AMUZ in Antwerpen lässt die CD den Hörer voll in die jeweiligen Stücke eintauchen: Man erlebt Sturm und Drang ebenso wie introvertierte, ja melancholische Stimmung. Mag die Musik zuweilen leicht anmuten: oberflächlich ist sie eben nie – auch dank des beseelten Zusammenspiels aller Ausführenden."

"Nos interprètes y entendent un amour sincère, sans joie béate ni maniérisme. Un cœur simple. [...] Comme dans les belles envolées du finale, les Karski, convainquent par un raffinement jamais artificiel."

Nominated on Longlist 1/2024 for: Jury Kammermusik I

"Both the Kodaly and the Bach are related further, in that the cello is retuned to unusual pitches in both. The Britten Passacaglia is back to normality in pitch, but makes a notable, sad closure to this beautiful “In Memoriam II”. Wispelwey is a fine cellist and this program is played with passion."

CD des Tages

"With a tangible bloom to the recorded sound, this quartet and their indefatigable cello partner Raphaël Feye are musicians to watch."

„The debut album of an outstanding young early music ensemble. Recorded in five German baroque castles!“

"It takes some doing to glide smoothly between two such contrasting musical languages, but Roth has been clever, using Bach-inspired Villa-Lobos (Villa Cantilena and Canção Sentimental ) as a bridge, in an arrangement featuring notably Bachian violin guration; then for the ensuing solidly samba repertoire, the orchestra retains not just its classical formation but even its harpsichord. [...] Add palpably high-resolution audio, immersive listening and even some unusual audience colour – the recording derived from two concerts in Rio’s Sala Cecilia Meireles, and the effortless rhythmic snap and lilt of ‘Mas que nada’ gets the public singing along – and this is classy fun."

"L’apassionament constant del Karski Quartet, amb el prestigiós violoncel·lista i director Raphaël Feye, imprimeixen un estil distintiu en els quintets del compositor italià; aporten delicadesa, misteri i una idònia profunditat expressiva, la qual cosa fa d’aquest enregistrament una experiència colpidora."

Album of the Week - "Mat sengen zwee Memorial Albume wëll de Pieter Wispelwey senger Trauer e Ventil ginn. Hie seet selwer, den eenzege Moyen fir weiderhin no fir ze kucken, wier gewiescht der Musek ze erlaben seng opbauend, heelend Wierkung. There is a glimpse of hope in the fact that meaningful things can be said on a wrongly tuned cello. Mee op kee Fall ass et en Album, dee vun der Trauregkeet definéiert gëtt. Hei ginn déi verschidde Facette vun der Trauer exploréiert. Dozou gehéiert och Léift, Hoffnung a Freed dozou."

"Cette célébration hautaine capture l’âme d’un musicien qui aura réinventé tout le répertoire de son instrument."

"Hendrix's fine, cleverly coordinated agogic: you will repeatedly encounter small ritardandi, brief moments of hesitation or loss of momentum, but this never turns into pathos. These are interpretations that avoid extremes, incidentally also in the choice of tempi."

"a musical bridge between the old and the new world"

"During such moments, one is easily led to believe that rarely have baroque and bossa nova coexisted in such a dynamic and harmonious way."

"Precisie zonder pretentie doet de elegante melodieën en het cassante contrapunt van Boccherini stralen als een pas gewaxt velletje. Bovendien nemen de violisten beurtelings de eerste partij voor hun rekening. ­Een ­gewaagde maar geslaagde aanpak, want debeloftevaneen­spannendeluisterervaringwordt helemaal ­ingelost."

"Hendrikx is particularly successful in the two finales, played with great ease, freedom, and amazing chops."

"Baltussen uses her pedal to link together longer phrases, while never cluttering the textures. Jansen and Mouray each have lyrical melodies that extend over long stretches as they shape the piece’s sonata-allegro structure. The work needs repeated hearing and bears up well under them."

"Uno strumento così legato all’arte del compositore belga che, per esso, Franck trascrisse uno dei suoi capolavori per organo, il Preludio, fuga e variazioni. Il brano (però nella trascrizione di Friedman) compare in questo cd in cui il pianista Yannick Van de Velde affronta il repertorio pianistico di Franck: oltre ad esso anche il Preludio, corale e fuga (prima opera pianistica importante dopo oltre un quarantennio di produzione organistica), il Preludio, aria e finale (ultima grande pagina per pianoforte di Franck successiva di pochi anni alla precedente) e la trascrizione di Cortot della Sonata per violino e piano- forte in La maggiore. Mai titolo discografico, dun- que, per il Franck pianista successivo al Franck organista, fu più azzeccato: “tra due mondi”."