| Rupert Marshall-Luck responds admirably to this style... he is as excellent an exponent of the viola as he is of the violin. |
| Robert Matthew-Walker: INTERNATIONAL RECORD REVIEW, January 2012 |
| Whether on violin or viola, Marshall-Luck plays with ideal purity over the widest range, important in both works when high harmonics are involved. Matthew Rickard’s piano-playing is also impressive, notably in the flamboyant writing in the Bantock. |
| Edward Greenfield: GRAMOPHONE, January 2012 |
Het was een concert waarop violist Rupert Luck en pianist Matthew Rickard zelfverzekerd hun Engelse programma presenteerden. Hun CD met alleen Engelse componisten is in Engeland zeer goed ontvangen. In Wouw spatten de vurige vonken er vanaf, uiteraard de kamermuzieksfeer in stand houdend met sublieme introverte gedeeltes. ...
De Suite van Benjamin Britten was het absolute hoogtepunt van het concert. Een March, Lullaby en een Walz. Dit is een meesterwerk dat je zeker moet leren kennen in je leven. De drie doodgewone titels worden opgetild door Benjamin Britten met een bravoure en lef waarbij de luisteraar zich afvraagt of het allemaal wel waar is wat de artiesten ten gehore brachten. In zeven minuten tijd waant men zich bij een mars, uitgevoerd door een gezelschap uit de tijd van Pieter Breugel, stokkend en schokkend. Een wiegelied zo verfijnd en schrijnend en ook zo sonoor doordat de violist op de D snaar moet spelen. Tenslotte een wals die je meesleept van de ene maat naar de andere. ...
Kortom een bijzondere middag in concertzaal “In den Wouwdfluit” te Wouw met twee spraakmakende solisten; een Meester-duo uit Londen.
A concert in which violinist Rupert Luck and pianist Matthew Rickard self-assuredly presented a programme of English music. Their CD of works by British composers has been well-received in the UK. This recital in Wouw exuded fiery sparks, whilst, of course, maintaining the intimate and sublime atmosphere of a chamber music performance. ...
The Suite by Benjamin Britten was the highlight of the concert. It is in three movements: ‘March’, ‘Lullaby’ and ‘Waltz’; and is a masterpiece with which everyone should be acquainted. The three movements, which bear such ordinary titles, Britten makes extraordinary with the brilliance and bravura of his writing, and the listener is left wondering at the music’s range. In the course of seven minutes [sic] one imagines oneself transported into a painting of Pieter Breughel, looking on at a march, halting and brutal; next, a lullaby, refined yet poignant, the violinist’s use of the D-string lending the movement sonority; finally, a waltz with an irresistible lilt. ...
In summary, this was an outstanding afternoon recital in the concert hall ‘In den Wouwdfluit’ at Wouw with two high-profile soloists: a master-duo from London.
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| Jan Walraven: CONCERTZAAL IN DEN WOUWDFLUIT, November 2011 |
| in both works the pair of players are excellent at negotiating the numerous transitions between sections with perfect accord and musical conviction. The same is true of the sound as recorded of the viola used which belonged to the composer Gustav Holst... I’ve written before about violin players encroaching on violist’s repertoire but Marshall-Luck plays it extremely well with an attractively rich tone and easy facility. |
| Nick Barnard: MUSICWEB INTERNATIONAL, November 2011 |
| The violinist Rupert Marshall-Luck – who also wrote the very capable liner-note – is the same Rupert Luck who recorded the first EM Records release presenting Bliss, Bowen and Walford Davies rarities with blazingly forceful conviction. That confident fervour is to be found here as well with a brace of pretty much unknown Sonatas. This pioneering spirit continues to translate into action and achievement. |
| Rob Barnett: MUSICWEB INTERNATIONAL, October 2011 |
| This is an outstanding disc. Rob Barnett beat me to it in designating it as a Recording of the Month but my welcome for it is no less strong. Both Rupert Luck and Matthew Rickard are fully on top of and responsive to this music and their performances are not only skilful and very musical but also full of commitment. I sense they are delighting in unveiling to a wide audience this unknown repertoire... The performances have been splendidly recorded in the sympathetic acoustic of the Wyastone Concert Hall and the documentation is excellent. |
| John Quinn: MUSICWEB INTERNATIONAL, July 2011 |
| Besides bomb-proof tuning and serious reserves of firepower, [Luck’s] musicianship offers full-throated, gloss-free fullness of tone which would impress in any context. |
| Malcolm Hayes: BBC MUSIC MAGAZINE, July 2011 |
| This first release from the English Music Festival label deserves the warmest possible welcome. Not only do the performances have real authority but the recorded sound is excellent and the notes include fascinating accounts of the discovery of two of these sonatas. The EMF has announced plans for several more interesting releases in the near future and the series could not have made a stronger start than it does here: Luck and Rickard offer an ideal combination of enterprising programming, some impressive musical archaeology to bring these works to life, and superb playing. This fine disc is a complete success and can be very warmly recommended to anyone with a serious interest in British music. |
| Nigel Simeone: INTERNATIONAL RECORD REVIEW, May 2011 |
| A warm welcome for the first release in the English Music Festival’s recording label, EM Records. Three violin sonatas kick-start this welcome enterprise, Rupert Luck and Matthew Rickard securing persuasive renditions of pieces by Arthur Bliss, Henry Walford Davies and York Bowen. ... With fine and committed performances, and a full and well-balanced recording, this release is a good start to a label that will hopefully run and run and indeed capture “The Spirit of England”. |
| Colin Anderson: CLASSICAL SOURCE, April 2011 |
| These performances are highly skilled and completely dedicated and immersed. ... EM Records have started out magnificently with this disc. We must hope to hear much more of Luck and Rickard. Let them continue to explore and harry the periphery rather than being drawn to the well-served ‘great and good’. |
| Rob Barnett: MUSICWEB INTERNATIONAL, March 2011 |
| Many concerts then followed, the first with interesting violin pieces by the 23-year-old Bliss (today the most grievously neglected of all the composers in this festival), a delectable sonata by Walford Davies and a somewhat astringent mature sonata by York Bowen. It was played with not a little style and panache by Rupert Luck with Matthew Rickard, piano. |
| Edward Clark: MUSICAL OPINION, July & August 2010 |
| The Saturday morning recital, given by the violinist Rupert Luck and pianist Matthew Rickard, was especially exciting, including, as it did, the world premières of Violin Sonatas by Arthur Bliss and Henry Walford Davies, both of which have languished in manuscript form for almost one hundred years. The concert concluded with York Bowen’s gorgeous Violin Sonata. The performance was outstanding, with Luck playing with searing passion and intensity, sympathetically accompanied by Rickard, and the large audience was tremendously impressed. |
| Em Marshall: DIRECTOR’S REPORT, THE ENGLISH MUSIC FESTIVAL, June 2010 |
| I appreciate very much indeed your enthusiasm for my Sonata, and your highly empathic interpretation of the work. It is a hugely rewarding experience for me to hear you play it as you do. Vigorous and attacking, while also lyrical and passionate – superb! |
| LIONEL SAINSBURY, February 2010 |
Luck eist aandacht. De dynamiek moet vooral gezocht worden in het uitbuiten van iedere forte, en daarbij klinkt Luck expressif en meeslepend. Het is gewoon zijn persoonlijke taal, een stevige directe taal die er niet omheen draait. ... Valt al meteen de enorme stevige van Luck op. De stevige strijktechniek in vooral de lagere tonen de muziek juist aangenaam tegemoet en klinkt er warme en stevige volheid met een aansprekend vibrato; dit is warmbloedige romantiek.
Luck commands attention. The energy of his playing is mostly due to the full exploitation of every forte note and passage, and that is why Luck sounds so expressive and compelling. It is his personal language, a strong direct language which speaks openly and candidly. ... The great intensity of Luck’s playing was immediately apparent. His assured bow technique was especially evident in the lower notes and the music had a warm and intense fullness with a compelling vibrato; this was warm-blooded romance.
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| Monique Meeuwisse: BN DESTEM, The Netherlands, 23 November 2009 |
Een op en top Engels programma waarin de Nederlandse componist Julius Röntgen naadlos aansluiting vond bij Elgar, Holst en Parry. Dit Londens duo heft een perfect concert gespeeld in alle opzichten. ... In de opening met de Sonate van Edward Elgar toonde dit Duo hun muzikale aanpak van dit enorme brok muziek. Grote warmbloedige melodieën, prachtige polyfone lijnen in het langzame deel en een heroïsch laatste deel. Rupert en [Daniel] hebben met hun cd opname van de drie Sonates van Parry hoge ogen gegooid naar de muziekpers. ... Parry’s muziek is zeer origineel met verrassende harmonische wendingen, scherpe ritmische gedeeltes en, zoals bij Elgar, schitterende dialogen tussen de vioolpartij en de pianopartituur.
...de Vioolsonate van de Nederlandse componist Julius Röntgen. Een herontdekking in Europa van jewelste. ... De componisten Elgar, Holst, Parry en Röntgen vormden een romantisch kwartet dat het publiek deed sidderen van emoties.
Rupert Luck maakte een voorname en innemende indruk. Zijn opvallende toonbeheersing en de lange ijle slottonen deden weldadig aan.
A first-class English programme, in which the Dutch composer Julius Röntgen was seamlessly integrated with Elgar, Holst and Parry. This London-based duo played a perfect concert in all respects. ... In the Sonata by Edward Elgar, an immense piece, which opened the programme, the duo showed their essentially musical approach, with broad warm-blooded melodies, beautiful polyphonic lines in the slow movement and a heroic last movement. Rupert’s and [Daniel]’s CD of the three Violin Sonatas by Parry has been highly acclaimed by the musical press. ... Parry’s music is very original with surprising harmonic turns, sharply rhythmic sections and, as in the Elgar, scintillating dialogues between the violin and the piano.
...the [third] Violin Sonata by the Dutch composer Julius Röntgen was like the re-discovery of a European jewel. … The works of the composers Elgar, Holst, Parry and Röntgen formed a romantic quartet that caused the audience to tremble with emotion.
Rupert Luck made a distinguished and engaging impression. His striking tone control and his long, pure final notes were especially memorable.
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| Jan Walraven: CONCERTZAAL IN DEN WOUWDFLUIT, November 2009 |
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