“The Philharmonia, accompanied by pianist Pierre-Laurent Aimard, the Philharmonia Voices, the Rodolfus youth choir and a handful of vocal soloists, delivered with an impressive stamina and focus that never ruled out the light and shade that this massive suite of masterpieces demanded.” –The Arts Desk

“Aimard played the Beethoven first. Using the sustaining pedal sparingly, it was a performance of unflinching, sometimes startling clarity, especially in the colossal fugue with which the sonata ends, but it was always more convincing on the tumult than the poetry. The huge Adagio (the longest slow movement Beethoven ever wrote) was never as poised and other-worldly as it can seem in some performances, and the final climax was more clangorous than consoling.” –The Guardian

“Some pianists are drawn to play the cantabile second theme of the slow movement with tenderness and elegance, as if anticipating the studied melancholy of Chopin; so too can languorous speeds stand in for profundity. Aimard eschews both approaches. The dotted rhythm smoothed out by many pianists at this melody’s outset pinched against its accompaniment; even in the most effusive moments Aimard made Beethoven’s lyricism sound like music fighting for breath. Aimard’s performance spotlights a special quality of isolation in late Beethoven.” –MusicOMH

“The 2008 Duet for piano and orchestra preceded the composition of that opera, and its sequence of sparely scored, crisply focused episodes now seems a clearing of the musical decks for the work to come, concentrating on dramatic essentials rather than exploiting the virtuosity of Pierre-Laurent Aimard, for whom it was written, and who contributed the Messiaen too – a typically brilliant account of Le Merle Bleu (The Blue Rock Thrush) from the Catalogue d’Oiseaux.” –The Guardian

“Part of the Moonlight Sonata, first heard as an offstage recording and then taken over by Aimard, began the second half. It launched a sequence that took in Helmut Lachenmann’s Tableau, the first movement of Beethoven’s First Symphony, the allegretto from the Seventh, and then the finale of the last piano sonata Op 111, breaking off before its final ecstatic trills to lead into BA Zimmermann’s Photoptosis, which quotes Beethoven as well as Scriabin, Wagner, Bach and Tchaikovsky. Impressively well played, with visual choreography and lighting effects too, it was all weirdly compelling, though in a ‘what’s going to happen next?’ way rather than a genuinely revelatory one.” –The Guardian

“At times while Aimard was playing all the orchestral musicians bowed their heads as if in prayer. Or else several would rise to their feet, as if saluting a flag. At one point everyone on stage started swaying slowly, as if caught in a collective trance. Dramatic lighting intensified the feeling of a ritual.” –The Times UK

“Traditionally, our artistic culture is not based on imitating or inheriting models, but on transforming them. Depending on the period, there are more or less references to the past, and more or less need for new dimensions, new modernism. The period when Messiaen composed this music, after World War II, was a moment of great avant-garde activity. We don’t live in an era like that at all. But history changes all the time, it is made of waves and breaks and unexpected moments, where the mix of old and new is always balanced differently.” – VAN Magazine

“Their developments can be linked to the irrevocable caesura of war. ‘Europe had been destroyed, and had to be rebuilt completely — the cultural dimension,’ Mr. Aimard said. ‘One needed avant-gardists; one needed people who would be revolutionary and redefine this world.'” – The New York Times

“Aimard has been closely associated with some of the giants of modernist composition. He studied at the Paris Conservatoire with Messiaen’s pianist wife Yvonne Loriod — for whom the composer had earlier written Vingt Regards — and became a renowned interpreter in his own right of Messiaen’s piano music. At 19 he was invited by Pierre Boulez to be the piano soloist with his Ensemble InterContemporain. His formidable repertoire includes work by the leading figures of music’s avant-garde, including Karlheinz Stockhausen, Elliott Carter and Gyorgy Ligeti.” – The Australian

“It seems to me that for such essential dimensions in life like belief or our relation to the world or cosmos, we should try every day to make a kind of tabula rasa with all our life experiments, all that we read, that we listen to and what we learn – especially in a relative world like ours where we don’t consider there to be one dominant country or one truth. I think each of us should make his own alchemy and find his own way. And in this case, one piece couldn’t be the absolute key for leading a life.” – Limelight Magazine