Rysanov makes the best possible case for hearing this version [of the Arpeggione], delivering a wonderfully poetic account of the solo part with subtle and sensitive accompaniment from the Swedish Chamber Orchestra...Rysanov's dazzilng performance [of the Rococos] makes us believe that the work was tailor-made for his instrument.

His playing has his instrument sounding impressively like a cello, although some of the viola's capacity for subtle light and shade has been ironed out in this relentless quest for powerful tone. Max Bruch's Romance (a rare viola original) brings out a likeable, gentler streak in Rysanov's artistry.

Needless to say, Rysanov plays with consummate artistry and stylish aplomb throughout. I can also confirm that he benefits from razor-sharp yet always warmly affectionate backing from an eager Swedish CO under the excellent Muhai Tang.

Maxim Rysanov's version of the Tchaikovsky Rococo variations for cello is one of the most successful steals, not tampering with the orchestral score but simply shifting the solo part, sometimes up an octave to give its virtuosic writing brilliance and allure. Rysanov's viola sound is warm, lyrical but with an edge to it that suits Schubert's "Arpeggione" sonata

Max Bruch’s meltingly beautiful Romance makes for a serene envoi to this delectable disc...[Rysanov] makes [the Rococo's] viola transformation sound thoroughly idiomatic. His burgundy timbre brings lustre to the music; his transpositions of passages into higher registers capitalise on the viola’s own spectrum of sonority, and his agility and subtlety are a marvel.