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'Such were the wide range of colouring and subtle
nuances conjured by Moore and Crawford-Philips, that one could almost
declare Debussy’s transcription of Prélude à l’après-midi d’un
Faune a worthy alternative to its more illustrious counterpart. The
intimate, tuneful Canonic Etudes by Schumann were beautifully brought to
life, the pianists’ delicate shading and lightness of touch capturing
the contrasting moods delightfully.'
Classical Source, September 2010
'There was an abundance of shading and I was
especially impressed with the tone colour employed by Moore in the second
subject of the first movement of Symphonic Dances; it was warm and fluid,
with such an easy feel and restrained use of rubato. A cracking show which
was excellent in every way and should not be missed when it is broadcast
on BBC Radio 3.' Music Web, January 2009
'As pianists, Moore and Crawford-Phillips can
compete with the best from the UK.' Pianist
Magazine, November 2008 'This was a
concert worth paying good money for.'
The Times, March 2008
'Top-playing throughout.' The
Herald, March 2008
'Brahms’s F minor Piano Quintet in its two-piano
version seemed every inch a masterpiece, strong and finely moulded..' The
Herald, September 2004
'... Brahms’ Sonata in F minor was a revelation
... the two-piano version has a vivid energy and rich texture which the
seamless synergy of these two players drew out to maximum effect.' The
Scotsman, September 2004
' ... the finest duo in the market right now, and
in a highly competitive field.'
Croydon Advertiser, April 2004
'... Philip Moore’s transcription of
Stravinsky’s Firebird ... sprang from their fingers with all the
brilliance and vigour of an orchestral performance.'
Musical Opinion, January 2003
' Their artistry
was superb ... they played together like one person ... The grand finale, Rapsodie Espagnole by
Ravel [was] deeply emotional, romantic, Spanish to the core, sparkling and
brilliant.'
Dorset Echo, October 2002
' Three movements from Stravinsky's Firebird
Suite proved a stunning climax to a varied programme. ... it's easy to see why they are in such demand.'
Manchester Evening News, October 2002
'Simon Crawford-Phillips and Philip Moore really
knew how to amaze with their playing! ... With light fingers and brilliant technique they
created a thoroughly convincing [Schubert] Andantino, every note full of feeling. '
Sarganserland, Switzerland - October 2002
' Early on ... I realised that I had not
heard piano duet playing like this before. ... [The]
performances were outstanding, both technically and musically, meticulous
in detail, vibrant and full of colour.'
Frome Festival review, July 2002
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'They gave Schubert’s F minor Fantasia a sense
of numbed desolation which brought it close to the world of its
contemporary Winterreise. At the other end of this rewarding evening a
driving, physically punishing account of Stravinsky’s Rite of Spring,
well-structured and constantly exciting.'
The Birmingham Post, February 2002
'The final stages of this [Promenade] concert were
the best: a wittily pointed account, by Philip Moore and Simon
Crawford-Phillips, of Stravinsky's Concerto for two pianos, which almost
succeeded in defying the acoustics.'
The Independent, August 2001
'A bonus in this concert was the piquant, spirited playing of Stravinsky's
Concerto for Two Pianos by Philip Moore and Simon Crawford-Phillips - a
real shot of adrenalin.'
Daily Telegraph, August 2001
'They brought out orchestral sounds and musical
fireworks ... ' Eastern Daily Press, July 2001
'Simon Crawford-Phillips and
Philip Moore were the 20 fingers of steel.'
[Paul Taylor Dance Company at Sadler's Wells]
The Independent, November 2000
'The duo captured both the moving serenity and the
storms of Schubert’s music, and the Gallic elegance, clarity and wit of
Bizet’s “Children’s Games”.'
Newbury Weekly News, May 2000
'The evening [began] with Simon Crawford-Phillips
and Philip Moore setting up some real party games
in Bizet's Jeux d'Enfants ... .'
The Times, January 2000 ' ...
[Moore & Crawford-Phillips] played with pellucid tone,
uncongested texture and effortless unanimity...'
Music on the Web, January 2000
'[It was] as if all expression were spontaneous.
... In the absence of the orchestra, the fullest sonorities were explored in a display of
technical wizardry at whose conclusion one could only gasp and ask: how
did they do that? ... You missed it? Kick yourself!.'
Croydon Advertiser, November 1999
'They filled the Wigmore Hall with cheering fans.
Their Schubert was a thing of beauty. They played the Variations on an
Original Theme D813 with skill and variety, his Fantasie in F minor D940
with profound understanding of its angry power, and won an audience
chuckle with the subtlety of their touch in Rawsthorne’s The Creel.' Evening
Standard, May 1999 'The debut recital at the Wigmore Hall by the piano
duo team of Philip Moore and Simon Crawford-Phillips could hardly have
been bettered. Here was duo playing of incomparable technical excellence,
the two playing as one throughout their demanding programme ... Lucien
Garban's transcription of Ravel's La Valse was absolutely breathtaking.'
Musical Opinion, Spring 1999
' ... a stimulating programme enhanced by
their clarity of approach and perceptive readings. Schubert’s F
minor Fantasie was infused with intensity. Ravel’s La Valse was a real
tour de force with lucidity and momentum. The rumbling bass at the start,
the brightly etched waltz theme, and glissandi which erupted with frothy
colour in the apotheosic conclusion, were all vividly projected.'
Musical Opinion, Summer 1998 |
