With Steven Osborne as soloist, the concertante works are in exceptionally good hands...After the Capriccio's grandiose opening, Osborne's tight control of the piano's insistent, driving textures provides a firm foundation for the opening movement's unexpected humanity and charm.” --BBC Music Magazine, July 2013 ****
“Osborne and Volkov tick a major Stravinsky box” --Gramophone Magazine, August 2013
“Osborne and Volkov tick a major Stravinsky box” --Gramophone Magazine, August 2013
“Osborne plays all with diamantine brilliance.” Sunday Times, 19th May 2013
“Osborne manifests both his rhythmic élan and his refined sense of tonal shading, underpinning the performances with virile energy...finding a spirited sparring-partner in the BBC Scottish Symphony under Ilan Volkov.” The Telegraph, 29th May 2013
“though they do not manage to make either [concerto] more likable, Osborne and Volkov judge them perfectly – keeping the Concerto, as well as the slightly later Capriccio, on a tight rein, and threading a lucid path through the thickets and intricacies of the Movements.” The Guardian, 30th May 2013 ****
“The outstanding work here is the Concerto for piano and wind instruments (1923-24), played by Osborne in a way that finds wit in the rhythmic quirks while lending substance to the music’s 18th-century references, so that it never sounds dry.” Financial Times, 8th June 2013 ***
“Osborne manifests both his rhythmic élan and his refined sense of tonal shading, underpinning the performances with virile energy...finding a spirited sparring-partner in the BBC Scottish Symphony under Ilan Volkov.” The Telegraph, 29th May 2013
“though they do not manage to make either [concerto] more likable, Osborne and Volkov judge them perfectly – keeping the Concerto, as well as the slightly later Capriccio, on a tight rein, and threading a lucid path through the thickets and intricacies of the Movements.” The Guardian, 30th May 2013 ****
“The outstanding work here is the Concerto for piano and wind instruments (1923-24), played by Osborne in a way that finds wit in the rhythmic quirks while lending substance to the music’s 18th-century references, so that it never sounds dry.” Financial Times, 8th June 2013 ***
