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The entire oeuvre of Péter Eötvös is haunted by the theatre. His operas have brought him recognition throughout the world as a master of the genre. But his chamber music and symphonic works too have a strong dramatic dimension and are eminently theatrical...

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Eötvös prefers to tell stories like Beckett and Chekov. Sometimes he uses grand opera; this release offers miniature theatrical works. Octet Plus adds a soprano to eight winds (flute, clarinet, two each of trumpet, trombone and bassoon) with bits of Beckett's radio play Embers. There's a taxi waiting for Chekov, but he'd rather go on foot makes clear its subject, but it's a piece for solo piano. Natasha would appear to be a shard from Chekov's Three Sisters scored for soprano, violin, clarinet and piano. The disc opens with the six-player sonata, reminiscent of Bartók's sonata for pianos and percussion: two pianos, sampler and three percussionists. The fourth of five movements is explicitly titled 'Bartók crosses the ocean.' It's perky and bright, antiphonal pianos among distributed percussion, the synthesizer contributing decidedly non-Bartók timbres. The two short solo piano items run in sequence and may inadvertently blur. Erdenkalavier - Himmelklavier Nr. 2 starts from a similarly named piece by Berio. Psy distills a concertante work into a trio for cimbalom, flute and cello. Cadenza is for solo flute.

     —Grant Chu Covell, La Folia

a. Linea offers an anthology full of invention and humanity that might receive the same laurels as the album Ivo Malec ten years ago.

     —Christian Fruchart, Reflets DNA