His Violin Concerto’s three movements...typify his delight in bringing extremes of expression within often terrifyingly close proximity, and is thrillingly realised by Patricia Kopatchinskaja, who negotiates the work’s coruscating intricacies with ravishing purity and intensity...The Luxembourg Philharmonic and Gustavo Gimeno are equally dazzling in the other works.

Gimeno and the Luxembourg Philharmonic give their all and interpret this new music to the manner born, while Pentatone’s sound is first class.

There is no mistaking the resourcefulness of his rhythmic patterning and his exhilarating capacity for bringing raw and refined materials into conjunction in orchestral writing, which come across strongly in these well-conceived and technically immaculate recordings.

The main draw here is the Violin Concerto (written for Kopatchinskaja in 2019), often quite sparsely scored and with a ravishing slow movement and cadenza, but everything here is worth your attention – particularly the imaginatively-orchestrated symphonic poem Mural, the grave central movement of which sounds a little like latter-day Shostakovich.

Kopatchinskaja’s extraordinary, freewheeling virtuosity appears to have unlocked a new vein of immediacy and expressiveness in Coll’s music, which the Violin Concerto seems to me to take on to another plane altogether...It’s compelling from first note to last, and could hardly be better played by Kopatchinskaja and the Luxembourg orchestra under Gimeno.

[Kopatchinskaja] shows off her stupendous skills in the premiere recording of Coll’s Violin Concerto and Four Iberian Miniatures. The composer reveals himself as a symphonist and master of orchestral writing in the other pieces on this disc. The jury also highlights the sound of the Orchestra Philharmonique du Luxembourg under its chief conductor, Gustavo Gimeno...and the excellent technical level of the recording.