Frankfurter Allgemeine Zeitung
by Martin Wilkening

"In seinen assoziativen Sprüngen durch Zeiten und Stile zeichnet das Album das einzigartige Porträt eines einzigartigen Instruments."

Gramophone, Disc of the month
by Ivan Moody
"This is quite simply one of the most outstandingly magical discs I have heard."
November 13, 2008 by Steven Ritter
"Garth Knox, whose credits include the Ensemble Intercontemporain and the Arditti String Quartet, has fallen in love with the 14-pegged, 7-string viola d’amore, an instrument without a country, and one that has been poking its nose into all sorts of music for hundreds of years, yet never quite establishing itself anywhere."

ECM UK press
September 2008 by Ivan Moody
"This is quite simply one of the most outstandingly magical discs I have heard. From the very first notes one is totally captivated by the fantastic richness of the sound produced by the combianation of the viola d'amore and the cello."

ECM UK press
September 2008 by James Inverne
"The title of this album may make it sound as though some kind of slushy love-fest is in store but in fact its meaning here are far more complex."

Musicweb international
August 2008 by Glyn Pursglove
Attilio Arisoti is one of those composers who always seem, for all their success, to exist on the fringes, to be outsiders"

The Journal of Music in Ireland
June 2008 by Michael Quinn
"D’Amore serves up one of the most curious listening experiences gleaned from a classical recording in many a long day. And I don’t, necessarily, mean hearing a brace of traditional Irish and Scottish dances played by the odd-couple pairing of viola d’amore and cello (albeit that in itself is somewhat odd, if also somehow oddly pleasing."

The Music formerly known as classical
This set by viola virtuoso Garth Knox (with cellist Agnès Vesterman) features a mysterious instrument hailing from the Baroque era: the viola d’amore. This remarkable instrument has 6 or seven playing strings and a set of sympathetic strings directly beneath them that are set vibrating by their bowed counterparts. This creates a “suono dolcissimo, ma sempre piano”, ultimately a double-edged sword that would seal its fate. Excluded from orchestral music due to its lack of cutting power, it was confined to the world of chamber music. By the 18th century, it had all but vanished."
2008 by Raymond Tuttle
"To play the viola d’amore and to specialize in contemporary classical music is a nest of contradictions. That’s exactly what Irish-born Garth Knox does, however, although he remains active as a violist as well. (Between 1990 and 1998 he played that instrument in the Arditti String Quartet.)"

Financial Times
by David Honigmann
"Garth Knox, an Irish-born, Scottish-raised string player, ends this CD with Celtic jigs and airs, the 14 viola d’amore strings dancing over a cello bass line from Agnès Vesterman, knuckles knocking soundboards for a beat."

Fono Forum
by Giselher Schubert
"Als überragender Virtuose vermag Garth Knox einen Klang zu entfesseln, den man von der Viola d’Amore bislang noch kaum vernommen hat, einen Klang dem Agnès Vesterman ungemein homogen und anschmiegsam Tiefe und gewissermaßen Perspektive gibt."

by Guido Fischer
"Mit seiner technischen Makellosigkeit kann er allein in den berümten “Folies d’Espagne”-Variationen des französischen Gambenkönigs Marin Marais jeden Stimmungswechsel von kantabler Versunkenheit bis zur furiosen Attacke mitgehen."

by Carlos Maria Solare

"Knox erweckt die unvergleichlichen Klänge der Viola d’amore, jener mit mitschwingenden Saiten versehenen Cousine der Bratsche, in Musik von der Renaissance bis zum 21."

© DR