BBC MUSIC MAGAZINE:
Clementi has suffered more than his fair share of detractors down the years, including Mozart who claimed: “[Clementi] has not the slightest expression or taste, still less feeling.”. Be that as it may, Beethoven’s early sonatinas and Op.49 sonatas show clearly the influence of Clementi (and Dussek). This seems to be Peter Katin’s starting point. Far from being inhibited by his 1823 Clementi original, he exhilarates in the instrument’s expressive potential. Rarely have I heard an early piano played with such sensitivity to atmosphere and with such magical tonal variety. So exquisite is Katin’s phrasal intuitiveness, so inevitable and supple his rubato that one might be forgiven for thinking he had discovered some early Chopin (of whose music he is, of course, an exponent of the greatest distinction).

While remaining close to [the] music’s Classical roots, Katin ensures that its gentle, pre-Romantic musings gently ripple the music’s surface. He also makes a glorious sound, underpinned by a seamless cantabile that glows throughout like an iridescent pearl.
Julian Haylock

MUSICWEB (1):
This disc is a delight.

I will not discuss the square piano as the notes with the CD do this admirably. What I want to do is recommend Clementi as a composer and give further indication, although this is unnecessary, of the unequalled stature of Peter Katin both as a pianist and musician. Muzio Clementi was born in Rome in 1752; he moved to London in 1774 and died in Evesham in 1832. He promoted Mozart only to be repaid by Mozart's undeserved dislike of him ... which may put a different light on the Mozart - Salieri story. Clementi was a sensational pianist and a deservedly respected teacher. Among his pupils were Field, Moscheles, Kalkbrenner and Cramer. He composed symphonies, a piano concerto, about a hundred piano sonatas which were greatly admired by Beethoven and that, in itself, is some accolade! He was probably one of the first composers to write what might be described as 'educational' music with his volume of a hundred studies Gradus ad Parnassum. Debussy was to parody this in his first piece in Children's Corner. Interested in every aspect of music, Clementi went into the business of making pianos with the London firm Clementi & Company which, in 1832, became Collard & Collard.

The music has charm, elegance and wit ... and, thankfully, they are neither weakly delicate nor affected. They are strong but not demonstrative; they do not dream or linger or become tedious. The thematic material is always purposeful and never banal ... in fact, it is often memorable. The pieces have a wonderful sense of continuity; the music never gets bogged down. And I am convinced that Peter Katin's insight into the sonatas and his understanding of the music realises these qualities. Other pianists might play these works with that thistledown prissiness and baroquish lingering affection. As Claudio Arrau once said, "We observe rests in the music but we do not turn them into cracks."

The F sharp minor Sonata is enchanting. Music to fall in love with. It has a lyricism far ahead of its time and a melodic invention that is second to none. The slow movement unfolds as a telling lament and the finale takes a great amount of skill to execute containing fiendishly difficult passages in thirds. It is really a splendid piece. Pianists should take it up without delay and be thankful to Peter Katin for his pioneering work in bringing this, and other Clementi sonatas, to our attention!

The B flat Sonata was probably known by Mozart as he seems to quote from this sonata in his overture The Magic Flute. Is this plagiarism by Mozart? Incidently the G minor Sonata sounds like Beethoven's Eroica theme. Perhaps Mozart in his unmerited dislike for Clementi borrowed his theme as a sub conscious desire to equate himself with the older composer. Peter Katin's finger work is faultless throughout and the opening movement of the B flat Sonata highlights this. In the andante he is successful in bringing out the music's attractiveness which is captivating. The finale is highly entertaining and the exciting bass line is imaginatively captured.

The G minor Sonata is not as well-written. The first movement seem to be understated with a series of scalic passages and a very pleasant melody that is constantly repeated. The andante is thoughtful and serious and what a wonderful interpretation Peter Katin gives it. This is the great difference between his playing and that of others. We have many fine pianists jetting all over the world playing with sure techniques and confident panache winning praise and, yet, while they are splendid executants some may lack the capacity to understand all the music's secrets, which only time surrenders, and therefore they can fail to reveal the music's hidden qualities. Peter Katin's playing has not been universally admired for 50 years without good reason.

The D major Sonata is another example of happy, bright music and while the music of the final rondo might be slender, Peter Katin captures its amusing quality.

The last sonata on this disc is the F minor and it is the most profound, reminding me of late Beethoven. It is dark music. The poignancy of the slow movement is obvious and the finale teems with activity.

To describe Peter Katin's performances would necessitate a host of superlatives.
Performances * * * * *Recording * * * *
David Wright

MUSICWEB (2):
There are some whose enjoyment of performances centres on the sonorities chosen by the composer: how things sounded with even temperament, how certain things took on “dark” tones while others — the eternally sunny key of C — have a far brighter tone. Some far prefer performances on modern instruments with stronger, more vivid timbres and notes that don’t sound ‘plinky’ or out of tune. Peter Katin here lays out a case for the square piano to be seen as many today see the harpsichord or clavichord: as offshoots of the overall development of the keyboard instrument.
 
The square piano has its own specifically tailored literature. Clementi’s family made square pianos and the music Clementi composed for piano takes such limitations in its stride. My grandfather and uncle - and my uncle has a square piano - would argue that in all likelihood, if Clementi had a square piano and a modern grand in front of him Clementi would have chosen the grand. There are definite limitations to the instrument’s capability. The action is less precise and noisier, with whirrings and clicks. The tone is an intermediate step from the clavichord, with a bell-like upper register.
 
Katin altered his decision on which sonatas to include once he began using the instrument on this recording — a rosewood piano from 1832 manufactured by the Clementi family firm. These sonatas wouldn’t necessarily be the first ones that would come to mind from Clementi’s output. The disc begins with the quiet and unassuming Op. 25 no. 5 in f-sharp minor. This was a conscious choice designed to bring out the sonorities and timbre peculiar to this type of instrument, especially with its trademark use of thirds in the upper register in the first and last movements. The elegiac andante is a lovely movement on any piano, and Katin’s playing is a treat to hear.
 
The second sonata offered is the cheerful and Mozartean Op. 24 no. 2. This is sunny, extrovert and engaging, sharing thematic elements in its first and last movements. These serve as bookends to the contemplative but no less positive slow movement. The g-minor sonata Op. 7 no. 3 is the first departure from score indications, perhaps as a nod to the limitations of the instrument. The first movement is not an allegro con spirito but a moderato, almost andante. While this brings out the singing nature of the instrument, it may not be quite what the composer intended. After the ending of this first movement, the Cantabile e lento seems not that much slower. This Cantabile is almost four minutes of reverence and beauty followed by a Presto that does well at showing off the Clementi square piano’s capability. That said, the sound of the action in the quicksilver runs — something like twigs snapping — under the lid of such a rare instrument can be rather alarming.
 
The last example is from the list of “likely Clementi sonatas”. It is the most Beethovenian of the set and has an unsettled quality in spite of aspects that at times could almost be seen as cheerful. The second movement is restlessly despondent: pauses filled with a sense of loss beautifully brought out by Katin. The triple meter finale is wonderful work of energy and drive but ends indecisively as if quieted by some other impulse. This makes for an odd end to what many period-instrument lovers will likely find an intriguing disc.
 
There are not that many recordings on the square piano. This is, as with Beethoven’s Broadwood, an opportunity to hear how a composer’s works sounded at the time they were written.  
David Blomenberg

PENGUIN GUIDE TO COMPACT DISCS:
Peter Katin plays a square piano which has subsequently been restored. So the sounds he creates are as authentic as one could find. The work which comes off best in his recital is the G minor Sonata, Op. 7/3, which sounds so effective on the fortepiano. The slow movements of the F sharp minor, Op. 25/5, sounds very direct, seeking no romantic overtones; generally, Peter Katin’s approach is plainspun to suit the somewhat dry sonority of his instrument. He is very realistically recorded.

INTERNATIONAL RECORD REVIEW:
Clementi was a prolific composer for the piano, and as with a lot of prolific composers his output is variable. At its best, his work ranks amongst the finest music of his time; at its worst, it is best avoided. Small wonder, then, that there are a handful of sonatas which regularly appear on compilations of Clementi’s sonatas, and in this reissued disc, Peter Katin offers his readings of some of the more well-known early works.

By far the most rewarding feature of this disc is the playing. Always thoughtful in his delivery and phrasing, Katin repays careful listening. At times, his interpretations are surprising. So often, it seems, modern performers seem to labour under the perception of Clementi the touring virtuoso: the faster movements dazzle with the complexity of the execution. But in Katin’s hands, Clementi becomes a superb lyricist. Even the moody, almost turbulent G minor Sonata from the Op. 7 set – surely one of the composer’s most subtle and sophisticated works – acquires a wistful dignity in this performance. Where most pianists make a dramatic gesture with the double octaves and semiquaver runs, Katin is almost coy. In the slow movements, the poise and elegance of the interpretation is rarely far from the surface; and many a phrase is charmingly turned.

What is most attractive, too, is the way in which Katin manages to capture an individual character for each of the sonatas. For instance, the D major Sonata from Op.25, which follows the G minor work, as a world away in terms of articulation and touch, and the effect is quite startling. A similar observation could be made about the studied distinction in sound between the opening F sharp minor Sonata (op. 25 No. 5) and the famous B flat Sonata from Op. 24, which Clementi claimed to have played in the celebrated contest with Mozart in 1782. Here again, Katin challenges expectation by daring to perform the outer movements much more sedately than one is used to. In short, then the programme is carefully chosen and diligently performed.

The problem with this disc lies in the instrument. Granted, playing this music on a Clementi square of 1832 allows us to hear the sonatas in a new light. But, to be brutally honest, the instrument looks better than it sounds. The best register is the tenor, which is clear enough and neatly voiced, but the top octave used in these pieces is awful (Although this is a six-octave piano, the repertoire recorded here pre-dates the instrument by some 40 years, and therefore the highest octave of the compass is not used at all). There appears to be a problem with distortion in the wire of several of the notes, with the effect that the tuning is most unsatisfactory. There are also several notes where the action makes an unpleasant click; all very distracting. One could go on.

This is a great pity, because Katin’s performances are worth hearing. And it would be a real delight if the instrument reflected the quality of Katin’s musicianship. In a way , then, this disc curiously reflects Clementi: a lot that’s good, but some rather unfortunate aspects.
Warwick Cole