“Gerhardt’s technique always absolutely at the service of the music. The slow movement had a guileless beauty, its link to the finale unerringly judged.”

“Gerhardt and Rustioni focused on the climax, building intensity and excitement to peak perfectly in a performance nothing short of spectacular.”

“The German cellist Alban Gerhardt is one of the most curious and versatile musicians on this instrument. For him, there are no blinkers or stylistic boundaries.”

“…in this diverse and beautifully recorded programme, [Alban] never disappoints, bringing panache and colour to his roles, and vast amounts of cellistic wizardry…”

“Each lyrical phrase, aggressive bout of bowing, and striving, heartfelt high note from Gerhardt felt laden with emotional layers.”

“Fantastically difficult, it was a real tour de force for Gerhardt, who played it from memory, very unusual for a contemporary work.”

“The commanding soloist, in his Philharmonic debut, was Alban Gerhardt, who also played the work’s world premiere with the Sydney Symphony Orchestra, in 2018, and its American premiere with the Minnesota Orchestra in November… Mr. Gerhardt played incisively and brilliantly.”

“Gerhardt brilliantly surmounted the concerto’s challenging intricate rhythms, especially in the passages of Shostakovich-like relentlessness. Sustaining a rich tone and crystalline articulation, Gerhardt was equally assured in the sections of fast virtuosic passagework, extended sequences of high harmonics and subdued sotto voce gestures.”

“Gerhardt’s technique is as formidable as his musicality. His extensive range of volumes and articulations and the energy-filled rubato (never veering towards sloppiness) made this a distinctive interpretation.”

“German cellist Alban Gerhardt’s approach to this concerto struck a rewarding balance between passionate yearning and driving the music forward, ever conscious of its final goal. From the passionate double-stops of the opening, Gerhardt made his cello sing, employing a wide, intense vibrato. The accompaniment by the NSO was sensitively handled, the orchestra always listening to the cello’s mellow voice and adjusting their dynamic range accordingly. Gerhardt’s laser-like intonation was particularly impressive as he soared stratospherically. […] In the third movement Lento, the orchestra and cellist breathed as one, creating a moment of serene beauty. Gerhardt’s top notes shone with ethereal splendour, while the stillness he imbued his pianissimos with were equally impressive. In the final movement, he navigated the virtuosic rhapsodic passages with all the agility and sure-footedness of a Chamonix goat.”

“Dutilleux’s music needs forthright performance if it’s not to sound precious, a lesson cellist Alban Gerhardt has clearly learned. His performance of Dutilleux’s cello concerto Tout un Monde Lointain had a noble expansiveness free of the febrile fidgety quality that can sometimes creep into Dutilleux’s fluttering gestures.”

“The calm authority and probing insight make him one of the finest cellists around — expressive, unshowy and infinitely classy.”