"... Recommended for fine playing and recording all round ..."
Jerry Dubins - Fanfare - July/August 2013
"... undeniably enjoyable ..."
Raymond Tuttle - Fanfare - July/August 2013
Interpretation ****** Sound ****** Repertoire *****
Anja Renzczikowski - Piano News magazine - May/June 2013
Music **** (Very Good) Sound *** (Good)
Arnd Richter - Fono Forum magazine - May 2013
"... a most satisfying, beautifully recorded disc."
Colin Clarke - International Piano magazine - May/June 2013
Performance ***** Recording *****
"... Few performers capture so engagingly the sheer fun in Mozart."
Jeremy Siepmann - BBC Music magazine - May 2013
"Fialkowska’s treatment is crystalline and unsentimentalised, lending the music a spontaneous fluency that is invigorating ! At first hearing, what sets Fialkowska’s readings apart from others is their accompaniments. She opts for the string quartet Mozart himself sanctioned (augmented here by double-bass). It creates an intimacy, a sense of chamber-musical repartee, that is impossible with the standard orchestral accompaniment, and the Chamber Players of Canada duly oblige in a partnership of equals. But listen further, and what really distinguishes the disc is Fialkowska’s crystalline, unsentimentalised treatment of Mozart’s piano writing, lending the music a spontaneous fluency that is invigorating. The programme is completed by similarly engaging performances of the 12 Variations in C major for piano solo (otherwise known as “Twinkle, twinkle, little star”) and Eine kleine Nachtmusik for strings." ****
Andrew Clarke - Financial Times - 22 February 2013
"Widely praised for her interpretations of Chopin, Janina Fialkowska here returns to the chamber versions of Mozart piano concertos, continuing a series she began with Nos 11 and 12. Again we hear intimate Mozart, rescored by the composer for household use, in the hope that the Viennese enthusiasm for domestic string playing would win him new devotees and make him some money. Fialkowska’s refined delicacy suits this arrangement admirably, forcing us to revisit the music afresh and listen again to the clean lines of accompaniment delineated so strikingly by string quartet and double bass. It’s so arresting that it seems unnecessary to add yet another recording of the string serenade in G (Eine kleine Nachtmusik) as a make-weight."
Stephen Pritchard - The Observer - 3 March 2013
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