Considering the addiction to originality at all costs and the narcistic, self-centred artistry which characterises so much piano-playing nowadays, not to mention the great praise attached to lofty personalised styles devoid of all tradition, it does one good to be able to listen to playing which in its pure authenticity, sensitivity, and independence in its recreation of musical substance, orientates itself solely around musical form and the logic of its musical content.
(Vorarlberger Nachrichten - Austria)
It is obvious that Trefor Smith is in real touch with his audience. His ten fingers fully serve the spirit, which he liberates from the notes. This spirit is not only faithful to the score, as one would expect, but is born of a kind of fusion of his own perception with that of the composi-tion and its creator.
(Die Welt - Germany)
Minute by minute Trefor Smith increasingly captivates his audience. His interpretations seem to have something engrossingly unproblematic about them.
(Badische Zeitung - Germany)
Regarding care to detail and flexibility of sound, Trefor Smith’s playing was at one with that of the orchestra. External effects were held back to the benefit of stylistic performance.
(F.A.Z - Germany)
Trefor Smith is an absolute master of his art. His modest and restrained manner, devoid of all artificial show, enabled the listeners to devote their attention wholly to the music.
(Die Rheinpfalz – Germany)
It soon became apparent that Trefor Smith is one of those introverted virtuosos who un-compromisingly devote their enormous pianistic abilities to the service of musical expression and thereby never show pure virtuosity, which of course would be no problem for him to reproduce.
In six études by Debussy Trefor Smith coaxed absolutely miraculous sound from the piano. The colourfully illuminated and demonically possessed performance of Liszt’s Dante-Fantasy turned out to be a passionate vindication of this fantastic piece.
(Hamburger Abendblatt – Germany)
His Schubert interpretation demonstrated the high class of his pianism and his artistic con-sciousness….Maurice Ravel’s “sonatine” was marked by decisiveness, a strong sense of form and elegance in perfection.
An even greater climax was (Liszt’s) Totentanz for piano and orchestra, mainly due to the piano playing of the soloist Trefor Smith’s who just carried everyone away. His technical command was impressive.
Not only the virtuosity, the great sense of touch and strength of the melodic lines in the largo were pure joy for the audience, the coordination with the orchestra was also remarkable.
…also in Liszt, whose folklore-like work was clearly displayed as if a real dance (Hungarian Rhapsody), “as well any Hungarian”, a Hungarian lady remarked as she was leaving.
Trefor Smith portrays the pieces (Theodor Kirchner 1823-1903) with great earnestness, and recreates magnificently the magic of a bye-gone era in which the salon had become the centre of musical creativity.
…a tingling account of Prokofiev’s first piano concerto. Mr. Smith was not blind to Prokoviev’s more rhapsodical or tender moments, and allowed these to make their intended
(Daily Telegraph – U.K.)
….success has come through honest musicianship…The Music Society Bluthner is certainly longing for those fingers again. Come again Mr. Smith.
(Maharashtra Herald – India)
…his control of line and sonority moved the piece forward convincingly and showed how closely attuned he was to the music.
(Sunday Times of India)