Bach / Bax / Hummel / Brahms / Lindemann / Martin- Hartmut Lindemann & Ben Martin (CD)
"My skepticism on my first encounter in about 1991 - "Never heard of him, who on earth is Mr Lindemann?" tipped suddenly over into unbounded enthusiasm, which has since mellowed into calm confidence: Lindemann has for the first time convinced me so firmly of the use of a rounded bow, with his portrayal of Bach's Chaconne, that I really "couldn't bother" about it's usage. The music created with it is overwhelming. [...] And if a player can summon up enough ardent eloquence, which supersedes all questions about the wherefore of the realization, we can only be talking about a really top-drawer musician..." (Stereoplay) "... There are basically two ways to play this work (Arnold Bax Sonata): tightly and dramatically, as Tertis and Bax do; or more discursively and romantically, as William Primrose and Harriet Cohen do in the other notable historical recording. Lindemann and Martin take the latter course, but execute their interpretation more convincingly than Primrose and Cohen. They shape the Celtic-influenced melodies with a sure touch and get right inside the music. (...) If you buy no other viola recital in 1994, buy this one." (The Strad)
"My skepticism on my first encounter in about 1991 - "Never heard of him, who on earth is Mr Lindemann?" tipped suddenly over into unbounded enthusiasm, which has since mellowed into calm confidence: Lindemann has for the first time convinced me so firmly of the use of a rounded bow, with his portrayal of Bach's Chaconne, that I really "couldn't bother" about it's usage. The music created with it is overwhelming. [...] And if a player can summon up enough ardent eloquence, which supersedes all questions about the wherefore of the realization, we can only be talking about a really top-drawer musician..." (Stereoplay) "... There are basically two ways to play this work (Arnold Bax Sonata): tightly and dramatically, as Tertis and Bax do; or more discursively and romantically, as William Primrose and Harriet Cohen do in the other notable historical recording. Lindemann and Martin take the latter course, but execute their interpretation more convincingly than Primrose and Cohen. They shape the Celtic-influenced melodies with a sure touch and get right inside the music. (...) If you buy no other viola recital in 1994, buy this one." (The Strad)