Press Quotes

 

 

Philip Higham is undoubtedly one of the most impressive young British cellists I have heard in a decade, possessing that rare combination of refined technique with subtle and expressive musicianship….he has all the qualities of a world-class artist.
The Strad Wigmore Hall June 2012

 

Instrumental disc of the month Gramophone Magazine
….it is Higham’s expansive but tender playing that pulls this music as far away from slapdash as it is possible to be.  He apprehends the complicated and multifarious elements of a set of pieces that seek to pay homage to Bach….There is no doubting the plain virtuosity of these works, too, and despite his appreciation of their contextual importance, Higham still manages to revel in the glorious sound they invite the cello to make, playing around with its warmth of colours to bring out with glorious inevitability the Bach and Shostakovich hidden theirin.
The Gramophone  Britten Solo Cello Suites Dephian  March 2013

 

 

'...there's nowhere to hide in three solo suites, but why hide a technique as assured, a musical imagination so finely attuned to Britten's expression, or a Tecchler cello sound as burnished and wonderfully textured as this?... His formidable mastery is lightly worn, and he exudes an invigorating sense of freedom, though not a single technical imperfection mars this recording (he was co-producer). From the first chords of 'Canto Primo', unrestrained, glistening, we know we're in safe hands; his 'Lamento' has piercing power with a compelling sense of line... A 5-star performance.'
BBC Music Magazine Instrumental Choice / Delphian Solo Britten Suites  April 2013


…it’s cheering in Britten’s centenary year to find young local artists taking hold of his music and making it their own.  There’s nothing precious or pained about Ben Johnson’s tenor in his admirable recording of the five Canticles. The tone is sturdy, open and direct. Similar qualities appear on Philip Higham’s CD of Britten’s Suites for Solo Cello. Alban Gerhardt’s recent recording smeared these pieces with grandiloquence. Higham is simpler, cleaner and better. Buy British. 

The Times / Delphian Solo Britten Suites  March 2013

 

'Higham's playing...contrives to make each movement, and by extension the whole work, a gripping experience. I have heard no more convincing performance of the Second Suite than this one... More remarkable still, however, is the psychological insight. Higham plays with a wisdom that belies his years... This one should be near the top of your list... It is very special.'
International Record Review / Delphian Solo Britten Suites   March 2013
 

His haunting Cello Concerto is imbued with his personal grief for everything lost during the Great War and that poignancy was convincingly elucidated in a moving performance by Philip Higham, a cellist of exceptionally serene sensitivity. His account eschewed the slightest edginess of timbre yet conveyed the painful concept with a wonderful evocation of sadness. Even when Elgar bucks-up the proceedings with a forced cheer, the regret was never far below Higham’s beautiful interpretation.
Bournemouth Echo / Bournemouth Symphony Orchestra-Elgar Concerto / February 2013

 

Young British cellist Philip Higham offers impressive interpretations here, grabbing attention right from the hypnotically mournful opening of the first suite.
The Independent 4 star review Britten Suites for Solo Cello Delphian 26 January 2013

young Scottish cellist Philip Higham delivered a breathtakingly accomplished and moving performance of Bach’s Cello Suites , which will without doubt rank as one of the lasting highlights of this festival’.
The Herald Lammermuir Festival September 2010


The sound of Philip Higham’s solo cello in the Third Cello Suite, singing its soulful song so close to your ear you could almost sense the air moving with the sound waves, was mesmerising.
The Herald Royal/Michael Tumelty Royal Concert Hall Glasgow/JS Bach Day November 2010

Despite his dazzling technique and fantastically pure sound, perhaps Higham’s greatest strength is his ability to seem entirely detached and relaxed whilst providing more musical interest than almost all more obviously involved performances. His flawless technique makes this cerebral approach possible, giving the impression that he is free from the demands of his instrument: Higham appears to be philosophizing from an armchair whilst delivering a stunning performance…. Philip Higham is a big deal: there will be plenty more opportunities to hear this exceptional musician.
Bachtrack Wigmore Hall March 2011


Cellist Philip Higham.…played his own account of the Third Suite, a performance of dignity and intensity.
The Herald Royal Concert Hall, Glasgow/JS Bach Day October 2010


Higham's passionate connection with the piece, his total technical command of its virtuosic demands, were outstanding.
The Guardian St John’s Smith Square/Finzi Concerto December 2009


An outstanding event at the Palladian style Shoreditch Church opened the first complete week of this year's Spitalfields Festival. Philip Higham
, a young cellist new to me… riveted my attention throughout the whole evening. He is musician first, consummate instrumentallist second. I didn't look forward to yet another Bach cello suite performance… but Philip's account of No 3 was totally persuasive, pulse and flow deeply satisfying, virtuosity subsumed in an inward communion with the music, with no flashy point scoring drawing attention to himself.
www.musicalpointers.co.uk Spitalfields Festival June 2010

The soloist was a young Scottish cellist called Philip Higham....Afterwards, Finzi Jr told him this was the best performance of the concerto he'd ever heard, and I could see what he meant: Higham's passionate connection with the piece, his total technical command of its virtuosic demands, were outstanding.

The Guardian St John’s Smith Square/Finzi Concerto December 2009