The ghost of Schweitzer hovers around this recording beyond the fact that it is dedicated to the Albert Schweitzer Institute for the Humanities. The programme includes, in the three chorale preludes, Schweitzer’s favourite Bach works, and the magnificent Arp Schnitger organ at Zwolle was one he himself played. More than that, though, Michael Murray’s performances are strongly influenced by, if not deliberately modelled on, Schweitzer’s style of Bach playing.
Schweitzer’s Bach was statuesque; the music placed on a plinth with every individual note painstakingly sculpted to derive maximum emotional and symbolic significance. The resulting performances unfold with a grandiloquence and weight quite at odds with the more matter-of-fact style of modern-day Bach playing.– Marc Rochester, Gramophone [5/1997]
What the world needs more of is intelligently planned, stupendously played, and brilliantly recorded collections like this one. These two discs contain all the piano works of Michael Tippett, works that come from every period of the composer's very long life except his very last. It includes the youthful, tuneful Piano Sonata No. 1 written between 1936 and 1938 and revised in 1941, the massive Fantasia on a Theme of Handel from 1941, the exuberant Piano Concerto from 1955, the experimental Piano Sonata No. 2, the gnomic almost Beethovenian Piano Sonata No. 3 from 1973, and the gnarly post-Beethovenian Piano Sonata No. 4. It features a bravura performance by pianist Steven Osborne that makes the best case for all the music, no matter how outré or recherché its harmonic proclivities or rhythmic audacities. Osborne has the emotional enthusiasm, intellectual clarity, physical strength, and sheer willpower to make listeners believe that Tippett is a major English composer and make them wonder why they ever doubted it. With the superlative accompaniment of the BBC Scottish Symphony Orchestra under the direction of Martyn Brabbins in the Concerto and the Fantasia and the sparkling recording by Andrew Keener for Hyperion, this disc marks a major step forward in the Tippett discography.