There was a large audience at the Diodetian Theatre in Lanciano to applaud Albert Roman's
masterly interpretation of Bach's Suite No. 2 in D minor, Penderecki's Capriccio for
Siegfried Palm and Kodàly's Cello Sonata op. 8.
Il Tempo d'Abruzzo
In J. S. Bach's Cello Suite No. 4 and the Sonata for unaccompanied cello by
Kodàly, Albert Roman displayed remarkable control, imagination, artistic perception and
instinctive aesthetic judgement. Through his performance, Roman made his listeners feel
that he was not just an excellent cellist but that he also possessed all the qualities
needed to make an excellent orchestra conductor.
Le Dauphiné Liberé, Annecy
The interpretation of the Six Suites for unaccompanied cello by J. S. Bach makes high
demands upon a cellist. Albert Roman's playing was admirably matched to these demands.
This was already apparent in the first of two concerts at St. Martin's Church in Basel,
where he performed Suites Nos. 1, 3, and 5. The order of the works in Roman's programme
created a logical progression climaxing in the majestic Suite in C minor. The rich variety
of stylised dance forms was clearly demonstrated, with the Sarabandes forming a tranquil
centre of each one. The performance contained all shades of dynamic and agogic nuances and
accents, without ever losing the perspective of the whole.
Albert Roman deservedly received enthusiastic applause for his
performance of Darius Milhaud's entertaining cello concerto, in which he displayed charm
and superb technique. He was ably accompanied by the Bem Symphony Orchestra under the
baton of Peter Maag.
It was the sensitivity of the cellist Albert Roman that made his evening concert in
the Bern Cathedral particularly impressive.The intelligently phrased and subtly modulated
performance of Henry Eccles' G minor sonata and his playing of Bach's fifth solo suite. He
was particularly successful in the seemingly never-ending cantilene of Messiaen's
,,Louange à l'éternité de Jésus", which he played with the utmost concentration.
Der Bund, Bern
The cellist Albert Roman filled the atrium of the Indiana University Art Museum with
sounds of Bach. He is an artist in his own right who brought to the austere, abstract,
rhythmically and melodically intricate suites for unaccompanied cello a sheen, purity of
tone, flow of line, and smoothness of production. We look forward to hearing the next
three suites followed next Sunday. My goodness, he played all those notes without score.
The Herald Times, Bloomington (USA)
The warmth and delicacy of Roman's lyric rendering of the ,,Phantasiestücke" by
Schumann shows that - unlike many artists - he is able to grasp and divulge the secret
that a work of music holds and thereby capture our attention.
L'écho Rèpublicain, Chartres
From the first note of the fifth suite by Bach he played in Chartres Cathedral, Albert
Roman impressed the audience. This is a bow which breathes music, which darts about with
the greatest agility and makes the strings sing finely and elegantly, while the left hand
skilfully masters the most difficult positions. Allemands, Courantes, Gavottes, Sarabandes
succeeded one another with consummate ease and crystalline clarity.
La République du Centre, Chartres
A high degree of abstraction in a piece of music can fire the imagination of those who are
gifted in that particular direction. This was impressively demonstrated by Albert Roman's
rendering of Bach's Suite in C major. The accents, progressions, and dynamic suppleness
were employed boldly but meaningfully to make the apparent simultaneity of the different
voices audible and to accentuate essential structural elements. Here, Roman's precise and
refined technique was of particular advantage. The performance of the Debussy Sonata was
the climax of the ensemble playing. The elusive magic of this work was most convincingly
evoked by the particles of colour which emerged with ethereal lightness, the strong yet
fluent sforzandi moulded by the cello into a hazy tapestry of sound, and the flexibility
of the performers in their response to the slightest change of nuance.
Frankfurter Allgemeine Zeitung
In his concert with the ,German Youth Philharmonic", Albert Roman convinced in
the slow movements of Vivaldi's cello concerto by generous phrasing and concentrated
beauty of sound. The quick movements, however, were full of temperament and virtuoso
Boccherini's Sonata is an admirable vehicle, and Albert Roman played it excellently
and with great refinement, revealing the intelligence and charm of a work not lacking in
originality. His technique is excellent, his sounds of great warmth and beautiful singing
quality. His playing is intense while remaining untainted by affectation.
Journal de Genève
From the first note Albert Roman impressed the audience with his impeccable musicality.
His playing is modern: he adds no unnecessary frills or false gestures and simply allows
the instrument to sing. With the greatest ease he started the evening with Boccherini's
virtuoso Sonata in A major. After a long downbow, he continued with superb spiccati. His
technique serves the music as a means to an end. Thus Roman is able to present his own,
fully thought out concept of a composition. His mastery was evident in Schumann's
,,Stücke im Volkston" and above all in Beethoven's Sonata in A major, which he
succeeded in performing with great structural tension and vitality.
Die Welt, Hamburg
The centrepiece of the evening was Schumann's cello concerto in A minor. Albert Roman,
the soloist, is a top quality performer. With great sensitivity, impeccable technique and
considerable energy, he highlighted the themes and then allowed them to fade away again,
surrendering himself to the unceasing flows of melody, harmony and rhythm. Mr. Roman was
not afraid of virtuosity. But that alone would not have been sufficient for this concerto.
lt demands great expressiveness as well as rhetorical playing, and Albert Roman rose to
the challenge at all times; the dose understanding between the soloist and the orchestra
should also be mentioned.
Schwäbische Zeitung, Konstanz
The Bach suites were musical, well-considered and refreshingly
civilised in character and sound. Albert Roman displayed a well-rounded tone, secure
intonation and graceful phrasing, especially in the Sarabandes.
The Daily Telegraph, London
My singly individual instrumentalist, the Swiss cellist Albert Roman, was at his most
convincing in Bach's C major Suite, where the rich timbre of his instrument and the
nimbleness of his technique were entirely displayed. A most eloquent account of the work's
Sarabande justified his list of awards and distinguished teachers. The rarefied atmosphere
of Debussy's late Sonata was another success.
The Times, London
Albert Roman and Andre' Navarra opened the Summer Festival ,,Ars e Musica" with an
evening recital of cello duos. With great fullness of sound and masterful technique, the
two artists interpreted Sonatas by Boccherini and Mozart as well as the ,,Tamburino"
by F. dei Giardini. The public responded with long, enthusiastic applause.
Gazzetta Ticinese, Lugano
Albert Roman demonstrated his virtuoso accomplishment in a cello recital at Lucerne's
Kunsthaus. He gave a convincing performance of Othmar Schoeck's posthumous Sonata and
Ernest Bloch's Suite No. 1 for unaccompanied cello.
A great deal of well-earned applause was accorded to Albert Roman and Jean-B. Pommier
at the St. Moritz Palace Hotel Easter Concert. The perfection, intuitive sensitivity and
artistic ability of both musicians were astonishing. The reason for the rapid rise of both
artists' musical careers became eminently clear from their interpretations.
Engadiner Post, St. Moritz
Albert Roman's clear phrasing, powerful sound and good sense of proportion all attest to
the qualities of an excellent musician.
Les Activités Musicales, Paris
Albert Roman performed works by Bach, Beethoven, Schumann and Kodàly, both accompanied
and unaccompanied. He proved to be a master of his instrument which he commands as an
organist commands an organ of many registers. Jubilant song alternated with plaintive
melancholy. After revealing the full scope of his playing in Bach's E flat major Suite,
where he took us from academic staccato to choral fullness of tone, Roman showered us with
soft, lyrical sounds as well as dramatic outbursts in Schumann's ,,Phantasiestücke".
Albert Roman was a guest at the Polish music festival ,,Koszalin". He is an
artist of great musical talent, as was particularly apparent in Bach's Suite No. 4 for
unaccompanied cello. Couperin's ,,Pièces en Concert" were performed with stylistic
and artistic sensitivity. Roman's fine cantabil,. his faultless technique and his dear
phrasing could also be appreciated in B. Martinus ,"Rossini"
,,Ruch Muzycny" Warsaw
The programme showed both inner harmony and stylistic confidence, ranging from Bach to
Debussy without confining itself to chronological order. These qualities were also evident
in the performance by Albert Roman. The cellist from the Grisons commands a tone of
perfect beauty and great sensitivity for the possibilities of his instrument, of which he
takes full advantage without ever attempting to overreach them. But over and above that,
he is also a meticulous player of works as different as a Sonata by Boccherini, Bach's
austere Suite for unaccompanied cello and Debussy's difficult, mercurial Sonata... All
these works were very convincing, and his interpretation of Beethoven's Sonata in A major
could not have been improved upon.
Neue Zürcher Zeitung