Independent (4.1.07) on The King's Consort/ Robert King, The Wigmore Hall, London on 31.12.06
"...In concerto 1, Andrew Clark and Gavin Edwards were supremos on natural horns, providing terrific chomping and glittering virtuosity at breakneck speed."
Times (2.1.07) on The King's Consort/ Robert King, The Wigmore Hall, London on 31.12.06
"...If Wigmore Street harbours foxes, the two horns would have sent them hurtling; their sound in the first concerto’s finale was thrillingly fruity. "
Independent (27.11.2006 ) on OAE/Zehetmair, Queen Elizabeth Hall, London on 22.11.06
"...Its spur was evidently the exceptional availability of no less than four outstanding horn players. But its amiable variation-form finale also runs to solo spots for cello, flute, violin and even double bass - all enchantingly taken in this rare hearing from the Orchestra of the Age of Enlightenment under Thomas Zehetmair. The rarity is at least partly due to the difficulty of the often fiendishly high horn parts. It was wonderful to hear them delivered so securely on the natural horns of Haydn's time in all their brazen glory"
|Financial Times (Andrew Clark [no relation!],
30.5.2006) on OAE concert in the QEH on 22.5.06,
directed by Rachel Podger
"And there are still jewels to uncover - such as the Vivaldi Double Horn Concerto, with its sedate clip-clop gait, that Andrew Clark (great name, brilliant valveless hornist) and Roger Montgomery winningly brought to our attention."
Timesunion.com (James Hennerty, 21.2.2006) on New York Philomusica Chamber Ensemble works by Mozart.
"The meatier part of the program consisted of two concertos. British horn expert Andrew Clark joined the group for the Third Horn Concerto. He played this notoriously difficult instrument with complete mastery. Standing front and center, he varied the dynamics and played the phrases and trills without breaking a sweat. His cadenza was superb, despite his refusal to play any note that the natural horns of Mozart's day could not produce. (If one uses a modern instrument, why not let it do what it is capable of?) The final movement, the best known part of all Mozart's horn concertos, was a model of how it should be done. Clark and the group also played (as an encore) a fragment Mozart left for another horn concerto -- very short, but beginning to take shape as yet another masterpiece."
|The Independent on Sunday (Anna Picard, 10.7.2005),
on Glyndebourne Opera House's production of Handel's Giulio
Cesare (Julius Caesar):
"...and the glorious horn solo in Caesar's "Va Tacito", this is a dramatic performance from the Orchestra of the Age of Enlightenment."
Times, (Neil Fisher, 3.3.2005) on Mendelssohn: "Midsummer Night's Dream" at Royal Festival Hall, London
"One could always rejoice in the... treasures of the score: a rapturous nocturne distinguished by the excellence of the horn solos." (with OAE conducted by Ivan Fischer)
Independent (Anna Picard, 9.5.2004) on Barbican Hall concert of May 4th 2004
"Amsterdam Baroque's performance - in the concerti, in Haydn's Symphony No 83, and in a brief selection from Handel's Water Music with trills to die for from the horns - was stunning enough to dispel any hint of contempt for familiar repertoire. Koopman's direction and continuo playing was generous, lively, rich and stylish throughout. A revelation in every respect."
New York Times (Allan Kozinn, 4.5.2004) on Haydn/Handel in Lincoln Center, New York
"As it turned out,
the evening's most captivating performances were the lively accounts
of Haydn's Symphony No. 83 and movements from Handel's "Water
orchestra, led by Ton Koopman, played on its own. Most striking was the
exposed horn writing in the Handel, played virtuosically and with flawless
intonation by Andrew Clark and Francois Merand, using perilously difficult
18th-Century horns. Maybe the Juilliard School should bring them over
for master classes."
Evening Standard (Stephen Pettitt, 17.3.2004) on London Handel Festival, St. George's, Hanover Square, W1
"The French-style overture from Samson was garnished by the splendid natural horn playing of Andrew Clark and Gavin Edwards."
|Independent (Andrew Stuart,
30.4.02) on the Telemann Horn Concerto in D, performed in the Queen
Elizabeth Hall, London, with the New London Consort
"...Other fine things were crafted by Andrew Clark (especially in the wild finale of Telemann's Horn Concerto)..."
|On Haydn's Pieta di me
in the Usher Hall, Edinburgh:
The Scotsman (Svend Brown, 22.8.96)
Scotland on Sunday (Elizabeth Clark, 25.8.96)
The Independent (Raymond Monelle, 28.8.96)
The Daily Telegraph (Brian Hunt, 31.8.96)
The Daily Telegraph (Philip Hensher, 3.8.96) on extracts from Handel's Julius Caesar in the Royal Albert Hall
"I have admired the Orchestra of the Age of Enlightenment horns before, and on this particular occasion, they made a splendidly exuberant quartet in the tuttis. The famous aria for Caesar with solo horn made a superb effect of freedom and confidence."
|The Observer (Nicholas Kenyon,
29.3.92) on The Brahms Experience in the Queen Elizabeth Hall
"...I did feel, in some of the small scale musical events, that we were offered a glimpse of a vanished world: in Andrew Clark's splendid performance of two movements of the Horn Trio on a natural horn, with Miranda Fulleylove, and Melvyn Tan, the response to the sonorities of the instruments was especially acute, and the results both lively and compelling in a way that performances on modern instruments rarely succeed in being."
(Stephen Johnson, 31.8.91) on Handel Heroic Arias
(James Bowman and The King's Consort on Hyperion
"...which reminds me to mention the magnificent solo playing. Those who persist in believing that the Baroque horn is a primitive and inexpressive instrument should listen to Andrew Clark's solo in 'Va tacito e noscosto'..." (from Julius Caesar)
EMI recording (5 72822 2) of Beethoven: Horn Sonata;
Sextet Op.81b; Brahms: Horn Trio; Mozart: Horn Quintet;
The Guardian (11.12.98)
Classic CD (Stuart Nickless,
The Horn Call (May 1999,
Brasses performed by the London Gabrielli Brass
Ensemble on Hyperion (CDA67119), which includes the
rediscovered Horn Concerto by Bernard Crusell (1775-1838)
BBC Music Magazine (Christopher
Czerny: Complete Music for Horn and Fortepiano
recording on Hyperion (CDH55074)
The Leeds Guide (Tom Tollett,
Early Music Review (September
Gramophone (John Duarte,