„...with great poetry Benedict Klöckner meanders themes, narrates, reflects playfully motives. Kloeckner search is directed to the music’s inner spirit. His playing is sometimes nearly sacral, a humble musical evening prayer. Motional sound ideas conquer abstract structural principles. Cantabile, dark, sometimes melancholic it opens profound abysses. Ideas of baroque Inventio flashes, phrases follow phrases. The influence of Frans Helmerson and Gary Hoffman, with whom Klöckner studied at the Kronberg Academy, is noticeable. The 6 new works appear more familiar than his consistently played Bach. Geoffrey Gordon’s„nes qu‘on porroit” in his archaic -religious Gestus reminds of Goreckis “Sinfonie der Klagelieder”, Howard Blake’s “Soliloquy” reminds of Bloch’s Schelomo. In the old there can be more new, than in the new itself. Benedict Klöckner proves it.”

- Frankfurter Allgemeine Zeitung 13/07/20

„The warmth of Benedict Kloeckner‘s Cello sound replaces a heating in the cold weather.

...he models with elegant bow hand Preludes and dance movements, as he would create them improvising in the moment. A highlight of this alive art of interpretation is the Suite No.6 on the second night. The nearly inevitably encore, “the song of the birds” by Pablo Casals overshadows clearly the loud contributions of the feathered onlookers.“

- Wiesbadener Kurier/Allgemeine Zeitung, Volker Milch 16/07/2020

„The recording location, the bunker under the UFA Studios in Berlin, which dates from the Nazi era, is as unusual as Rihm’s extremely challenging work Über die Linie, which was considered unplayable by Heinrich Schiff. The expression ranges from the most fragile passages to eruptive outbursts, yet the music work never loses its lyrical character, so that despite the contemporary notation, listening is certainly not stressful.

Benedict Klöckner knows how to direct the irrepressible power in the piece and uses the recording location with its natural reverb in such a way that place and cello together bring added value. With the ingredients for Wolfgang Rihm’s work and the extraordinary recording conditions Kloeckner is able to provide an extremely attractive performance.“

- Uwe Krusch Pizzicato

„Heinrich Schiff who performed the first performance of “über die Linie “ in 1999 thought it is unplayable. This didn’t stop Benedict Kloeckner to engage with the 35 minutes composition. The recording is a sound discovery exploring what is possible. It is not only the immense manual challenges which makes “über die Linie” a tightrope walk.

The plumbing of all parameters of expression, especially the dynamic, is a constant challenge.

One get the feeling the music is already there, before Kloeckner starts playing and doesn’t end.”

- BNN / CD Review Rihm Album / 24/07/20

...An extraordinary experience was the performance of Benedict Kloeckner. He connected absolutely secure technique with musical, expressive magical art of Interpretation. The public was under his spell in Schostakovich 1st Cello Concerto not daring to breath.His soulful performance, smooth transitions, power and a sonor-cantabile sound were to admire.”

- Schwarzwälder Bote 13/11/2020

„More an Interpretation can not archieve“ Musik und Theater „Perfect Symbiosis“ „A real discovery“ - Concerti magazine.“

"Breath-taking" 5 stars - Pizzicato Magazine.

„One of the best recordings of the last years in this genre“ „very sophisticated interpretation with a fine feeling for nuances“ „warm“, always controlled, enthusiastically singing cello sound“

- Aachener Nachrichten