Lloyd Webber and Forsberg make an exceptionally well-matched partnership. Every dynamic, nuance and subtlety of tempo is delicately accomplished. The single-movement Sonata is particularly rewarding. Lloyd Webber caresses the music with passionate conviction from the opening melody through to a wonderful culmination. The Andante is treated with reverence while the finale inspires confident playing. JANET BANKS
The Grieg Sonata prompts magnetic playing with more light and shade than is common. The mystery of the opening is intensified and the pianissimos are daringly extreme, especially in the central slow movement with its haunting quotation from Grieg’s Homage March. EG
Lloyd Webber has refined and deepened his reading of the Delius, now tauter than before. The Grieg Sonata too prompts magnetic playing. The pianissimos are daringly extreme, magically so in the central slow movement with its haunting quotation from Grieg’s Homage March. Edward Greenfield
An intelligent pairing. Both composers’ cello sonatas are played with passionate advocacy by Lloyd Webber and Forsberg. Grieg’s is more tempestuous than expected and Delius’s is structurally taut. Both are typical in their richness of material. Michael Kennedy
Thoughtful pairing of Grieg and Delius, linked by a friendship which lasted until Grieg’s death in 1907. The poetic repertoire suits Lloyd Webber’s eloquent playing. His Delius is lyrical, especially in the Serenade from Hassan. In Grieg’s fiery sonata, Lloyd Webber avoids false heroics in favour of passion. Forsberg is a sinewy, sensitive accompanist. Fiona Maddocks
Grieg and Delius go well together as friends for almost a quarter of a century. Lloyd Webber and Forsberg find the elusive subtlety of colouring. In the more clear-cut structure of Grieg’s Sonata the gestures are equally heartfelt with broad tonal palette. The finale’s fiery temperament is communicated unstintingly. GN
THE National Youth Orchestra of Iraq’s UK debut was a triumph. Despite adverse conditions, the orchestra proved its versatility in this varied programme. Music director and conductor Paul MacAlindin has done a phenomenal job of nurturing an all-embracing musicianship. Together with cellist Julian Lloyd Webber they gave an exquisite and moving account of Faure’s Elegie. The NYOI demonstrated how culture wins over politics every time. By SUSAN NICKALLS
Julian Lloyd Webber joined the NCO for two short pieces: in Faure’s haunting Elegie his rich tone told well against the very fine orchestral balance under Gavin Sutherland’s conducting, and the rare Frank Bridge Scherzetto proved a delightful foil. These two works were quite beautifully played and projected with genuine character. A recording of the concert was made, so the truth of this assessment can be readily demonstrated. Robert Matthew-Walker
A first-class package in every way. Julian Lloyd Webber has a firm, richly coloured and full-focused tone. His lyrical warmth projects tellingly over the entire range. His account of the Dvorak Concerto is full of passionate feeling, with a tender Adagio. Among the encores the lovely Traumerei stands out for its freely improvisational feeling. Ivan March
With more than 30 recordings to his credit, cellist Julian Lloyd Webber need never fear about living in his brother Andrew’s shadow. Saturday night’s performance showed why this should be so. Lloyd Webber brought a fine touch and a keen intellect to all that he and pianist John Lenehan played. The sweetest moments came in the Debussy Sonata Prologue and in the gentle unfolding of Faure’s Elegie. All were crafted with the greatest of care and dispatched with exact intonation. Mark Carrington