Acclaim

“Paul Marleyn…..gave a heart-warming account of Tchaikovsky’s Rococo Variations with the Royal Liverpool Philharmonic Orchestra) displaying a well-nigh unassailable technique…. his smooth, rich tone had not the faintest trace of a rough edge.”

Neil Turney, Daily Telegraph, London

“Paul Marleyn’s playing is emotionally intense, physically big-boned, and never dull. In the Prokofieff (Sonata), the cello takes deep-throated precedense…..the Sonata was well paced and strongly shaped.”

Gramophone Magasine

“A superb programme, with players over-flowing with health, the joy of playing, and flamboyant brilliance. All come together for a memorable disc…. the caressed phrasing, the glittering colours, the very beautiful mezza-voce of the cello, the tone of a lyrical and seductive heroism.”

Pascal Brissaud, Repertoire, France

“Marleyn played (the Schumann Concerto) with poise, finesse and the strength of an old hand……he negotiated all three movements with deftness, good projection and superb melodic shaping. This was a performance of genuine distinction.”

The Times Herald, New York

“….phrasing and delivery that were a model of poise and sensitivity. His tone control was excellent, bringing a culminative inward intensity to the music.”

The London Guardian

“Paul Marleyn is a sensitive player of considerable insight and intelligence, with an impeccable technique and apparent infallability of intonation.”

Liverpool Daily Post, England

“Paul Marleyn’s truly great performance of the Schostakovitch Sonata was a psychologically riveting interpretation, as close as could be to the pulse of the music and of such calibre to deserve putting on record………..His tone had a deep and poignant lyricism that was spell-binding: his technique was so secure that the listener did not become aware of it……. a magnificent performance.”

The Tech, Cambridge, MA, USA

“Marleyn met its (The Schostakovitch Concerto no. 1) daunting demands superbly: the virtuoso Cadenza movement and the hell-for-leather finale were particularly commanding.”

Daily Telegraph, London

“To disciplined playing, he brought a large, lush tone…….an impressive performance.”

The Boston Globe

“The program opened with Beethoven’s Sonata no.2 in G minor. From the very first entry, one’s appreciation for the considerable talent of ‘cellist Paul Marleyn grew. Marleyn’s impressive credentials foretold an artist of the highest order. This Beethoven confirmed it. Marleyn’s account was noble, spacious and beautifully gauged.”

James Manishen, Winnipeg Free Press, Canada

“Paul Marleyn, fresh from his triumphant appearance in Saturday’s moving performance of John Taverner’s Svyati, soared in from high in the bleachers with Sarah Hopkins’ solo cello opus titled Reclaiming the Spirit……A recurrent snatch of romantic melody was delicately thrown in, while Marleyn exorcised the spirit of the didgeridoo from his cello…… The return of Marleyn with pianist Heather Schmidt for James Macmillan’s Kiss on Wood was a pleasing addition …..Marleyn and Schmidt turned in a superbly musical and captivating performance. Marleyn’s plaintive high notes melted into the distance with Schmidt’s dying chords to great effect.”

Centara New Music Festival, Winnipeg Free Press, Canada

“Swirl, for solo cello, highlights this program of chamber music by composer Hiscott. The music is more than merely pictorial, as it covers a rich vein of moods and is beautifully explored in Paul Marleyn’s performance.”

James Manishen, Winnipeg Free Press, on Blue Ocean, released by CBC Records

“Inventive programming, passionate playing, compelling listening”

Jessica Duchan, Classic FM Magazine, on From Jewish Life, released by Signum 2

“Cellist Paul Marleyn’s sensitivity and sound technique create a strong impression…..”

Richard Todd, Ottawa Citizen, on Blue Ocean, released by CBC Records

“…committed and expressive performances. Throughout this CD Marleyn shows his true colors as a fine cellist with both an astute command of style and formidable teachnique. His artistry deserves much wider disemination.”

Joanne Talbot, Strad Magazine, on From Jewish Life, released by Signum 2

“The programme opens with Max Bruch’s Kol Nidrei…which Marleyn takes up with passionate soliloquy…..(in Bloch’s Nigun) Marleyn’s cello sings the frevent melodic line with deep lyrical feeling……Throughout the playing of both artists is totally idiomatic….a most rewarding concert.”

Ivan March, Gramophone, on From Jewish Life, released by Signum 2

“Marleyn presents strongly characterised and highly expressive performances of all the works….an excellent recording, this release deserves an enthusiastic recommendation.”

Erik Levi, BBC Music Magazine, on From Jewish Life, released by Signum 2.