Comments and Praise: Praise for Thomas Georgi and the  viola d’amore.

The Strad, May 2009: "In the course of the three volumes, Georgi has fascinatingly explored diverse interpretative options for Ariost's music regarding the tuning and type of the playings strings as well as the use or otherwise of sympathetic strings. Here (in the third volume) as in earlier volumes, he is thoroughly at home in Ariosti's capriciously Corellian style. Georgi's playing is consistently brilliant; he draws an uncommonly warm sound from his Thomas Eberle viola d'amore, and it goes without saying that he is completely on top of the msuic's difficulities, both those written down by Ariosti and those resulting from his own copious embellishments." Carlos Maria Solare

On Stockholm Sonatas vol. 1 “This is a most enjoyable disc from a skilful performer who seems to revel in the rarity of his instrument and its repertoire, ably supported by some excellent continuo playing that manages to be characterful yet unobtrusive, and imaginatively prominent in all the right places.” Alan Howard, 18th Century Music, 4/1 March 07

On Stockholm Vol. 2 “I really enjoy your CD. Beautiful music, unknown for me, beautiful played. It is a pure pleasure to listen to. It makes me also wonder why some composers are so well known, others almost forgotten... It is not quality of their music... What is it then? Sometimes maybe less popular instrument, for which music was written... Sometimes maybe - the country, in which composer was born... I may be wrong - but I can't stop thinking that Jarzebski and Mielczewski would be more known if they were English, French or Italian...”

On Stockholm vol. 1 From Early Music “…Ariosti’s apparently inexhaustible flow of invention, and the wealth of his talent, … make the programme a delight to listen to from beginning to end. Georgi’s extremely informative notes in the accompanying booklet are as excellent as his playing.” Early Music, Aug. 07

On Stockholm Vol. 2 “Althought Ariosti was an Italian, I don't feel his musics have the kind of Italy style like his contemporaries for example Geminiani, Veracini, Locatelli or Biber, his music is the kind of most simple and straight to the heart of listeners, is the ordinary type rather than theatrical style.” (The spelling is original.) from Hong Kong Personal email, June 07

On Stockholm Sonatas, vol. 1 “These are beautifully balanced performances of rarely heard works.” John Teraud, The Star, May 17, 07

“When the music it began, I was been attracting to love it gradually, whatever its recording, and its sound, all are impressive and sentimental. I like it and listen again and again. Customer review from Taipei, found on Amazon.

From Wholenote.com
On Stockholm Sonatas, vol. 2 “What a wonderfully resonant sound these musicians achieve! None of these sonatas is more than 10 minutes long, and each individual movement is a miniature gem- serious adagios, sprightly gavottes and graceful correntes, all interpreted with the grace and sensitivity of a Watteau landscape. In all, this is most satisfying disc.” Richard Haskell