Salomon, brytyjski pianista, który już w wieku dziesięciu lat miał za sobą pierwsze publiczne występy. Jako nastolatek z powodzeniem wykonywał kompozycje Beethovena, oraz Czajkowskiego. Intensywne tournee, oraz duża presja spowodowały w nim niechęć do grania na fortepianie. Za namową dyrygenta Sir Henry Wooda przestał publicznie występować i zajął się nauką. Powrócił na scenę dopiero po skończeniu 21 lat, jego gra weszła wtedy na zupełnie nowy poziom. Koncertował w Wielkiej Brytanii, USA i Australli, gdzie zasłynął z legendarnych interpretacji Beethovena. Jego wykonania charakteryzują się niezwykłą wirtuozerią, liryzmem, oraz głęboką pasją. If the "Hammerklavier" Sonata (No. 29), perhaps the most profound work ever written for the piano, were not on this disc, one would dwell on the singular charms of the rarely heard, two-movement Sonata No. 27 or the astonishing rightness of Solomon's interpretation of the Sonata No. 26, "Les Adieux." But the "Hammerklavier" is the touchstone of any Beethoven sonata cycle, and it's the rock upon which most pianists founder. Solomon meets its challenges as well as anyone who's every recorded it. Solomon may not match Artur Schnabel's intensity, but he's far superior technically, and he comes close to Claudio Arrau's depth and Wilhelm Kempff's poetry. Solomon is unique in bringing all these attributes to bear on a piece whose mysteries can never be encompassed in one interpretation. He captures the dynamism of the opening Allegro, makes the Scherzo a witty romp, and sustains the long, 22-minute Adagio with a flowing poetry that's breathtaking. The final fugue, played with superhuman ease by Solomon, for once seems an inevitable culmination of a timeless journey. An indispensable disc. (Dan Davis) A brighter but less warmly equalized transfer of Solomon's Beethoven Op. 90 sonata previously appeared on EMI. This is one of the few Beethoven Sonatas Solomon was able to record in stereo, to the advantage of his elegant sonority and subtle color palette. Solomon plays down the first movement's stark dynamic contrasts yet never loses hold of the demanding, rotary left hand sequences. He lets the last movement's concluding upward run trail off in tempo as Beethoven asks, and the lyrical mood winds down with a question mark. The effortless aplomb with which Solomon negotiates the Les Adieux sonata's awkward chains of thirds and cascading scalar passages is matched by concentrated, sustained phrasing in the slow movement and the haunting first movement introduction: a wonderful performance. Reviewing Solomon's justly acclaimed Hammerklavier sonata in Philips Great Pianists series (type the "quicksearch" number q490 in Search Reviews), I noted the pianist's rare fusion of suavity and power. Few pianists on record have made the outer movements sound so utterly easy to play. Testament's slightly improved transfer, however, reveals a weightier, larger-scaled slow movement than I've previously accredited to Solomon. Or perhaps I'm just listening better. In any event, these recordings shine in the starry Beethoven Sonata discographic firmament, and can't be recommended highly enough. (Jed Distler, ClassicsToday.com)