Eloquence Classics

“Firkušný is a sensitive, intellectual pianist, and his refined musical playing falls very pleasantly on the ear. He plays [Pictures] remarkably well … The Ravel pieces are beautifully done too, and as the recording quality is quite outstandingly good, this would seem to be a disc to recommend unreservedly.” Gramophone, August 1961 (Mussorgsky, Ravel)

“This rendering of the Pictures is conceived on a large canvas, broad and unhurried throughout … And while the dimensions of Firkušný’s reading are unquestionably large throughout, he brings a certain salon-like lucidity to bear on the writing … The Jeux d’eau and Miroirs excerpt are lucid and shimmering.” High Fidelity, September 1961 (Mussorgsky, Ravel)

“Erica Morini and Rudolf Firkušný make an ideal sonata team, and the combination of their strong individual personalities results in music making of the highest order.” Stereo Review, November 1961 (Mozart & Franck: Violin Sonatas)

“Morini and Firkušný are a nicely balanced duo for this literature. They seem to be agreed on matters of style and approach, and their performances have a very pleasing lightness and vivacity.” High Fidelity, July 1962 (Beethoven: Violin Sonatas)

“Firkušný is always the most sensitive – even psychic – of collaborators. These are joint performances in every sense.” High Fidelity, May 1963 (Beethoven & Brahms: Violin Sonatas)

“Firkušný’s playing is architecturally lucid, technically brilliant, richly expressive … the Viennese players have a lovely expressive style here, and they are energetically conducted by Somogyi. Westminster’s reproduction is brilliant in detail.” High Fidelity, January 1964 (Dvořák: Piano Concerto)

“Any example of Firkušný’s artistry, sadly under-represented on the gramophone, is to be cherished.” Gramophone, May 1967 (Dvořák: Piano Concerto)

“Another in the superb series of collaborations by these two sterling artists. Both Sonatas receive bracing performances, full of bite and brio … A phenomenal tour de force for everyone concerned.” High Fidelity, October 1964 (Mozart & Beethoven: Violin Sonatas)

“These are acts of musical communication utterly selfless and wholly concentrated on the music and its essence … We have here music-making at its purest and most joyful.” Stereo Review, December 1964 (Mozart & Beethoven: Violin Sonatas)

“Exemplary Brahms … I have little difficulty in opting for this superbly lean, radiantly secure, strongly balanced partnership as the best reading yet of this music.” High Fidelity, May 1967 (Brahms: Cello Sonatas)

“A quiet, precise sensibility and musicianship which I find illuminating as well as impressive … Fournier also has the immensely able and intelligent assistance of Rudolf Firkušný.” Stereo Review, June 1967 (Brahms: Cello Sonatas)

“Again and again in these recordings, Firkušný’s easy control of the keyboard lets him make points that others can only hint at. The screeching owls, the falling leaves, the grumpy hedgehogs, the bickering squirrels, and the other outdoor sounds that permeate Janacek’s music are caught brilliantly, with never a slide into Disneyland cuteness.” High Fidelity, May 1972 (Janáček)

“Firkušný plays Janáček’s music as if it were his own. One is seldom even aware of him as an interpreter, so naturally does everything flow under his incredibly precise fingers … It is strong, idiomatic playing, affectionate but never sentimental, sturdy but not rough, expressive but not mannered.” High Fidelity, June 1972 (Janáček)

“Rudolf Firkušný … produces seamless legato lines, hammerless tone and rapt atmosphere” Penguin Guide

“This intense and alert performance, remarkable not only for energy and drive but for jewelled clarity of finger-work … Uri Segal, developing rapidly as a sensitive concerto conductor is plainly the most sympathetic of accompanists.” Gramophone, June 1974 (Beethoven: Concerto No. 5)

“No one brings more authority to this music than Firkušný … supremely assured, unaffectedly communicative in its unlaboured blend of grandeur, dignity, tension and poetry … An uncommonly satisfying account in every respect.” Stereo Review, July 1974 (Beethoven: Piano Concerto No. 5)

“Firkušný is subtle and seeks out the lyricism in these scores.” Stereo Review, March 1976 (Janáček)

“The ‘Pathétique’… fairly explodes into its reprise. Superbly urgent, too, is his treatment of the opening movement of the ‘Appassionata’, and his emphasis of contrast in expression and dynamics throughout lingers in the mind long after hearing.” Stereo Review, February 1977 (Beethoven: Sonatas)