The performance could hardly be bettered: both musicians play with fine feeling and
sensitivity and truly bring out the poetry behind the notes. ... Matthew Rickard
is an exemplary partner. ... Marshall-Luck and Rickard display both passion and poise
in a deeply-felt reading.
Matthew Rickard was a welcome addition to this concert, and the interaction between
violin and piano proved to be very successful. Both Marshall-Luck and pianist Matthew
Rickard were well attuned to the atmospheres and psychological shifts that affect
the piece. The [Gurney] Sonata ... was delivered with conviction and the details
of the piece came across beautifully.
Review of lunchtime concert given with violinist Rupert Marshall-Luck at the Victoria
Please click here to read the review in full on the Intermission Bristol website
October 2012 - International Record Review
The contribution of Matthew Rickard lacks nothing in commitment or insight.
The piano writing [of the Gurney] is bass-rich but, thanks to the sensitive playing
of Matthew Rickard, the violin never sounded swamped. ... There are several passages
of remarkable stillness in the music, to which Rupert Marshall-Luck and Matthew Rickard
brought a particularly strong sense of atmosphere. ... I loved this music and I thought
that Rupert Marshall-Luck and Matthew Rickard invested it with great poetic feeling.
Session report of the recording of a CD of Violin and Piano works by Gurney, Elgar
and Sainsbury due out in 2013
Please click here to read the report in full on MusicWeb International
October 2012 - International Record Review
There is no doubting Rupert Marshall-Luck’s commitment to the cause ... and in Matthew
Rickard [he has] an adept and sympathetic accompanist.
On this recital disc Rupert Marshall-Luck and Matthew Rickard concentrate on communicating
the music without any idiosyncratic or intrusive exaggeration. This high calibre
partnership speaks of sanguine spontaneity and a natural warmth and affinity for
the music. I was impressed with Marshall-Luck’s appealing timbre and Rickard has
a fine sense of keyboard colour.
[the acoustic of the hall] allows Matthew Rickard’s heroically impressive piano playing
to register with power and attractive sonority – in both works the pair of players
are excellent at negotiating the numerous transitions between sections with perfect
accord and musical conviction.
This is a well-programmed, finely played and valuable disc – qualities that could
be used to define the English Music Festival itself.
Please click here to read the review in full on the Classical lost and found website.
July 2011 - MusicWeb International
Luck and Rickard make a strong case for the piece [the Walford Davies] and I enjoyed
both the music and their performance very much. ...
The finale [of the Bowen] is a bravura, often fiery creation, which is tossed off
with fine virtuosity by these two players.
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 – certainly the description ‘unknown’ applies to the Bliss and
Walford Davies works. The performances have been splendidly recorded in the sympathetic
acoustic of the Wyastone Concert Hall and the documentation is excellent.
is a most auspicious launch for EM Records and I look forward eagerly to future releases.
In the meantime I hope collectors of English music will reward the enterprise of
the label and enrich their own experience by hastening to add this CD to their collections.
Please click here to read the review in full on MuiscWeb International
May 2011 - International Record Review
This is a most imaginative and rewarding release: the world première recording of
a significant unpublished work by Bliss, along with violin and piano sonatas by Walford
Davies (another première recording) and York Bowen...
The performance by Rupert Luck and Matthew Rickard has an inspiring confidence and
commitment that characterizes their approach throughout. ...
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
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.
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”.
Please click hereto read the review in full on the Classicalsource.com website.
March 2011 - MusicWeb International
The Bowen is a very fine, moving and exciting work – no half measures! The performance
is fiery to the point of molten. Breath-taking stuff! ...
There is nothing tentative about these performances which 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’.
Please click here to read the review in full on MusicWeb International
November 2010 - The Arthur Bliss Society Newsletter Vol. 8, No. 2
The work itself, as well as the performance, captivated the audience. It wasn’t one
of those concerts where I find at some point I have switched off: all three works
commanded my full attention, the Bliss more than the others. They have much in common,
and my neighbour in the comfortable seats (not the pews) extolled as one virtue of
the Festival the way it brought out the connections between the featured works. Bliss
later travelled a long way from this early work, but here it could be appreciated
in context. My neighbour was also full of praise for the players who acquitted themselves
brilliantly and with palpable and infections enthusiasm. It felt as if they were
truly engaged with the works, and they attacked them with gusto. How nice it would
be to able to revisit the performance in recorded form - one day, perhaps.
Review of recital at the 2010 English Music Festival on 29th May 2010 with the Violinist