Nick van Bloss can claim the remarkable achievement of creating a thoroughly distinctive sound. No one else matches the crystalline clarity of his fingering, his ability to find motifs and figures hidden in the textures, and his hypnotic driving sense of pulse...The English Chamber Orchestra is infected by his inspiration, while the recording is beautifully balanced and alive.

Van Bloss's touch is a delight for its delicate fluidity, overall lyricism and sense of playfulness. Tempos too are nicely judged, the faster movements upbeat without racing.

[Van Bloss] performs these works...in the Andras Schiff vein, with the piano seamlessly integrated, phrase shapes clear and intelligent, articulation crisp and never intrusive, and the whole thing held together by an underlying sweetness. Under David Parry, the ensemble is smartly balanced with the soloist and intonation is clean.

engrossing, insightful music-making here which, at its best, certainly has the capacity to astonish...tautly sprung rhythms and deftly meticulous touch imbue van Bloss's playing of the faster outer movements of these works with a vitality suggestive of Gould at his most penetratingly incisive.

Van Bloss’s big-boned playing style is attractive and charismatic, and he delights in the opportunities offered by a modern concert grand. Bass lines are discreetly doubled, and the sustain pedal is used sparingly but effectively...Bach’s slow movements here sound especially impressive; the Adagio of the D major concerto is especially beautiful