In the Press

‘Whether or not these two artists intended an approach that would place Libeer’s piano on equal terms with Gatto’s unglossy chamber-scale violin sound I don’t know; but the instrument allows Libeer to be expansive, brisk and brilliant as required, without ever threatening to overwhelm his partner. This is deeply unshowy Beethoven but it’s intensely sincere and it sounds entirely new. Try it.’

— Gramophone

‘Libeer opened the program with Bach’s French Suite in G Major. He displayed glistening, translucent tone in the first two sections, Allemande and Courant, then in the third section Sarabande previewed the subtle sense of timing and ability to portray tranquil moods that would prove to be his most remarkable attribute.’

— South Florida Classical Review

‘Every note is a pleasure. If the remaining four sonatas maintain this level, the series will equal those of Haskil/Grumiaux, Ashkenazy/Perlman or Argerich/Kremer.’

— Luister *****

‘Julien Libeer and Lorenzo Gatto cover the ground like thoroughbreds, with exemplary virtuosity. There are no big slow movements and many astonishingly quick ones where lightness predominates, allied to intensity.’

— Gramophone

‘Think of the Grumiaux–Haskil duo. Admirable from the beginning till the end. The genesis of a great duo.’

— Diapason *****

‘Le Tombeau de Couperin, probably one of the most perfect versions I have ever heard, elegant and menacing like Marcelle Meyer’s version... [Julien Libeer] is a pianist with full mastery of his style, a playing of great clarity, subtlety and firmness.’

— ArtaMag

‘In comparing [Lipatti and Libeer] to one another, one finds more resemblances than differences. Libeer’s affection for Lipatti is not surprising. They may be children of totally different times, their intentions seem the same, and both Lipatti’s and Libeer’s idiosyncracies as players naturally merge in to one another, as if time has stood still. This is a posthumous but no less contemporary encounter between three masters of the keyboard : Lipatti, Ravel and Libeer. It makes this cd into a very special experience. A miracle, actually. Julien Libeer is a pianist of gigantic talent.’

— Opus Klassiek

‘What strikes immediately in his playing and interpretation, is the absolute clarity of discourse, the incredibly balanced melodic mastery, and the intelligent, almost intellectual construction of the overall structure. Combine that with a flawless and crisp articulation, an extremely sensitive, almost obsessive attention to the slightest shades in color, and playful rhythmic shifts, and one’s in for a magical listening experience. The most wonderful thing of all is that Libeer possesses the wonderment of a child: no studied effects, no mannerisms, just an interpretation as fresh as dawn. This is great repertoire, and great class.’

— Klara *****

‘Il sent avec une justesse étonnante la diction, le ton si particulier de ces joyaux merveilleusement ouvragés. Un pianiste au jeu finement sensible, d'une précision singulière et animé d'un sens du récit jamais pris en défaut.’

— Diapason *****

‘The amount of passionate, as well as intuitively dosed musicality flowing from these performances almost takes your breath away. Camille Thomas and Julien Libeer create an ideal balance throughout the entire discours.’

— Opus Klassiek

‘Schubert’s Arpeggione sonata was played very generously, precisely and with a great sense of detail and phrasing, with attention for the most subtle changes and nuances. The outstanding chamber music quality of their dialogue was part of what made this such a ravishing concert. Libeer is the more serene of the two. He sits behind the keyboard, and everything he does sounds true, with great economy of gestures, cristal-clear limpidity and intense expression.’

— Süddeutsche Zeitung

‘Julien Libeer is convinced about “the transformative power of music for anyone willing to listen”. His engagement shows in this delightful, incredibly interesting and sometimes hilarious talkshow.’

— BRUZZ

‘The amount of passionate, as well as intuitively dosed musicality flowing from these performances almost takes your breath away. Camille Thomas and Julien Libeer create an ideal balance throughout the entire discours.’

— Opus Klassiek

‘Everything he does sounds true, with great economy of gestures, cristal-clear limpidity and intense expression.’

— Süddeutsche Zeitung

‘Julien Libeer’s readings are a formidable demonstration of musical spontaneity. He is all but a self-indulgent pianist: his renditions are never demonstrative, yet his simplicity never excludes richness of invention. Rather than overstating them, his musical ideas are always integrated to the story, without any didactic pretentions.’

— Bachtrack

‘A pleasantly invigorating and active performance. Julien Libeer and Lorenzo Gatto present a fresh approach; playful, light, sharply defined – but also with a singing quality.’

— Luister