Pianist Reviews

Brahms Piano Concerto no.2 in B flat. in N.C.Hall. Dublin.
National Symphony Orchestra of Ireland. Cond, Bryden Thomson.

Philip Martin gave us superb technique, breath of vision, true lyricism, emotional depth and intellectual power
Irish Press

Mr. Martin is capable of prodigious virtuosity and is musicianly to the utmost degree. South Bank . London.'
Paul Driver, The Daily Telegraph

Philip Martins boxed-set of the piano music of Louis Moreau Gottschalk's music is a momentous occasion in the history of 19th century piano music and in the documentation of this colourful American Pianist-Composer.
Peter Dickinson, The Gramophone

This is playing of sympathetic finesse and lyrical elegance.
Bryce Morrison. Gramophone Magazine.

No one else plays Gottschalkís music with such captivating, improvisatory passion or such exquisite tact.
Fanfare Magazine. USA

Composer Reviews

FIRST SYMPHONY 2003 (Mystic Nativity) National Concert Hall. Dublin
This well-crafted work manages to be of its time while inhabiting an old aesthetic world. The names that come to mind are Walton and Vaughan Williams, not because of imitation but because all three composers create a distinctive harmonic language through the contrapuntal combination of certain kinds of vigorously rhythmic, colourful ideas.
Martin Adams, Irish Times

PIANO TRIO NO. ONE (Serendipity) Altarus Label AIR-CD-9011
'Philip Martins Pictures at an Exhibition commissioned by the Crawford Piano Trio. His music is lyrical and economical, tonal and melodious and he writes gratefully for voices and instruments, besides being a brilliant concert-pianist. This piano Trioís unobtrusive unification of a sequence of miniatures into something rather bigger suggests that he is capable of much more. Michael Oliver. Gramophone.

SECOND PIANO CONCERTO Marco Polo Disc CD 8.223834
HARP CONCERTO Marco Polo Disc CD 8.223834
Martins 2nd piano concerto is infectiously entertaining and in his Harp Concerto, there is a warmth of serious but not sober-faced musical purpose, bringing an aesthetic of classically rooted tonal music to his work desk.
Fanfare Magazine USA