The Times:“… exquisitely refined playing – strongly communicative and splendidly full-blooded.”

“His playing was out of the ordinary in its involvement … he has a strong instinct for the melodic moment … his technical brilliance could hardly have been more dazzling.”

“Impressive pianism – imaginative use of colour … technical finish in his playing is superb … I have no reservations in recommending this enterprising release.”

“A feast of pianistic variety – Geoffrey Saba proves to be a considerable performer with an individual style – a tour-de-force in every way!”

“He played with an autocratic vigour which is most refreshing on the ear. His Bartok was impressive as the massive ostinatos built to great climaxes … the tone quality was not artificially inflated like the dollar, but had real productive density behind it … in the Schubert he allowed the music to delight in the experience of rediscovery.”

“Certainly one of the most impressive piano recitals for many years … a tour-de-force … he dispatched the Bartok with fluidity, masculinity, and cogent attention to its springy, salty rhythms.”

“A cumulatively impressive recital … respect reached a level many other pianists might envy.”

“A pianist of very impressive technical abilities … thoroughly at home at his instrument and constantly aware of phrase shapes and contours … enviable dexterity.”

“Saba’s communications of the 20th Century disc’s changing dimensions, contrasts and bruising moods was eloquent and evocative. He has an affinity with Debussy and his performance of Leonard Borwick’s transcription is beautifully shaped and well controlled. Berg’s one-movement sonata too is given a powerful reading, Saba probing the shifting textures with an accomplished ease pinpointing the moments of romanticised yearning with a keen intensity and skill. Ravel’s Gaspard de la Nuit seethes with vivid effects … This performance of Beethoven’s Diabelli Variations wins me over with its acute exploration of irony, pathos, rage and humour to mercilessly pounding virtuosity.”

“Saba allows the music to speak for itself … a reading of great intensity and drama … the music continues to move forward, never allowing us to get bogged down in any pianistic self-indulgence … Saba’s precision of tone had me scarcely wanting to breathe for fear of disturbing the atmosphere. Wonderful piano playing and a first-class CD.”

“There was a natural flow to the trilogy that was both logical and spontaneous. Beginning with the E major Sonata Op 109, poetry issued forth from Saba’s hands. His was not an over-analysed, over-calculated reading often encountered in competitions or student recitals, but one that suggested a life-long experience and struggle with the inner messages of Beethoven … In the ultimate C minor Sonata Op 111 Saba was fully in tune with Beethoven’s fist-shaking and sabre-rattling rhetoric, and the valedictory final movement exhibited his full gamut of dynamics. That this epic cycle of 32 sonatas ends quietly on a harmonious C major chord speaks volumes. All is well in the world.”