September 2019
“The Toronto-based pianist entitled his performance Pushing Boundaries and was in honour of three classical composers who did much to change keyboard music in the 1700 and 1800s. Welch injected his own energy into the eight compositions of Domenico Scarlatti, W.A. Mozart and Frederic Chopin. They all flowed forward with a brisk and contemplative majesty.”
Apt613
May 2019
Luke Welch’s third recording The Return (lukewelch.ca) presents the Beethoven Sonata in A-flat Major Op.26 and Schumann’s Faschingsschwank aus Wien Op.26. Welch is no stranger to the Schumann repertoire having recorded Kinderszenen on one of his earlier discs. There’s a strong and natural fit for him with this composer’s language whose harmonies he seems to understand profoundly. He’s especially persuasive in the Romanze where he moves carefully with the gentleness of Schumann’s melodic line before leaping into the Scherzino with a perfectly balletic lightness.
The Beethoven tracks, that include a couple of Rondos Op.51 in addition to the sonata, demonstrate Welch’s affinity for the core of the classical repertoire, the discipline and balanced expression that these composers need to be convincingly played.
WholeNote Magazine
January 2018
“He has a nice knack for a rather sparkling interpretation.”
American Record Guide
September 2017
“…certainly he draws great power from the piano with an appearance of little effort. With the release of his CD he may have announced himself as something of a Scarlatti specialist, and that is no bad thing: his choice of three sonatas for our concert ( L23, 118 and 449) demonstrated his flair and affinity for this music and also showed off our Bechstein most effectively. Composer, performer and instrument all seemed well suited to each other!”
Christ Church Music in Marlow
May 2015
“Sonata D.784 by Schubert was the last item in this section. The brilliance of the playing in the concluding allegro vivace movement left the audience eagerly anticipating more.”
Taupo Times
February 2013
“…lovely phrasing and delicate touches, especially in the slow movement, and an irresistible energy and lilt in the finale.”
Seen & Heard International