For a long time it has been said that the repertoire of solo concerti for cellists was relatively small. Indeed, the same five or six pieces appear on orchestral programs again and again …In fact the complaint about the allegedly tiny cello repertoire is partly caused by the musicians themselves, with their constant repetitions. In the pre-Baroque and Baroque periods there are actually hundreds of works, most of them quite unfamiliar. Alban Gerhardt, one of the most inquisitive, versatile and, above all, best cello virtuosos of our times has now recorded a second CD with romantic works for his instrument. On the first he presented works by Ernst von Dohnányi, Eugène d’Albert and George Enescu. Now, to the Schumann work, he has added three others that were composed in the circle around Schumann and Brahms. Robert Volkmann and Friedrich Gernsheim were friends of Brahms. Albert Dietrich wrote a joint violin sonata for Joseph Joachim together with Schumann and Brahms under the motto “free but lonely”. Volkmann’s virtuoso a-minor concerto, in its key and single-movement form, reminds one, rather distantly, of Schumann’s both familiar and alienating miracle in sound, and it was first performed at almost the same time. Dietrich’s g-minor concerto was written around 1876 for the master cellist Friedrich Grützmacher. This piece, which is probably being presented here for the first time since its premiere, has, in its fashion, certain elements of Schumann and Brahms. Nonetheless Dietrich shows, as in his F.A.E. sonata, that he had a mind of his own. The concerto in c-minor by Gernsheim was published in 1907. With its network of symphonic style it might remind one of Brahms or, no less, of Elgar. The fact that thoughts of this kind come up at all, that one is so fascinated by the difference as well as the similarity of the sound languages, is due to Alban Gerhardt’s brilliant cello approach. He realises the works of Brahms’s three friends with vital virtuosity and an intensity of playing that raises them to pieces of a high rank. The accompaniment of the Berlin Radio Symphony Orchestra under Hannu Lintu is very emphatic. But when the opening bars of the Schumann concerto spread their magic and Alban Gerhardt articulates the insatiable longing of the theme, then Volkmann, Dietrich and Gernsheim cannot but move to the back row.  

After the splendid start made by the Hyperion Series with Romantic cello concerti, the second album turns out to be a treasure-box as well. This refers less to Schumann‘s familiar late work than to the compositions that have long been absent from the repertoire, by Robert Volkmann, Albert Dietrich and Friedrich Gernsheim – scores with wonderful, melancholic themes, deeply felt harmony, passages of ravishing sound, and especially the more melodically than brilliantly conceived solo part. The happily chosen compilation responds well to Alban Gerhardt’s rich tone, too. “

"Alban Gerhardt flourishes with cello personality, radiant colour and untiring eloquence in all of the concerti collected on this CD. The greatest discovery is probably the E minor Concerto by Friedrich Gernsheim … Alban Gerhardt plays this short work with voluptuous delicacy and lyric rapture. The music becomes light and sanguine: qualities that can be praised on this CD as a whole. … With neck-breaking thrills, Alban Gerhardt reaps musical acrobatic effects from this. Definitely worth hearing on the CD. On this voyage of discovery Alban Gerhardt again proves to be a skilled storyteller and a superb musical cicerone… A showpiece for collectors, and proof of the intelligence and far-sightedness of a cellist who combines virtuosity and content with a touch of genius.“

Alban Gerhardt throws himself into the fray with thrilling virtuoso abandon and the recording is out of Hyperion's top drawer  

„Nowadays there are all too many recordings of justly neglected works. This is emphatically not one of them. The Schumann Concerto…is in any case not exactly neglected. More importantly, the other concertos here are such accomplished works that one wonders – as with only the very best of such projects – where on earth these pieces have been hiding while the stream of Dvorak, Elgar and Tchaikovsky recordings flows unabated. Alban Gerhardt's playing is rich-toned, impeccably judged even in the most obscure works, and completely assured without committing the fundamental error of making it all sound too easy – and he certainly has plenty to do. The orchestra suppoerts him with both fine solo playing and a rich tutti sound. While everything Gerhardt does is audible in the balance, there is never the feeling that he has not earned his prominence… [Dietrich]'s Cello Concerto is relativbely accessible music but boasts plenty of subtlety and fine melodies; the Romance is a particular gem and must have been a joy to rediscover … The work demands to be taken up into the regular repertoire – indeed Gerhardt's performance makes it sound (in the best possible way!) as if it had always been there…Both the Gernsheim and the better-known Schumann Concerto inspire Gerhardt to a few tonal risks – he does not shy away from the occasional dig into the strings… Even for a Volume 1 this would have been a fine programme; for a Volume 2 it is indecently good and the performances are both brilliant and committed. I can only look forward to Volume 3.  

Gerhardt's impassioned, dulcet-toned performances are exemplary, rescuing fine music from undeserved neglect.