Critical Acclaim

“the ideal performing artist.”
—Washington Post

“What Kroll offered on the harpsichord was astonishing… A pulsing, highly structured, logical music with the highest technical brilliance and intense power of expression.”

“Listening to this artist, he plays with the perfect sense for the right style. It was an evening full with intellectual and musical joy.”
Leipziger Volkszeitung

“…extremely expressive playing… a brilliant and virtuosic recital.”
Early Music

“…wild enthusiasm was expressed for Mr. Kroll’s concert.”
Frankfurter Allgemeine Zeitung

“…[a] player full of excitement for new music… [a] rousing soloist and a fine chamber music collaborator.”
—American Record Guide

“…elegant virtuosity…Kroll’s musicianship never fails to satisfy. Kroll never disappoints…

“…precision and musical integrity…skill and erudition…”
—New York Times

“The public will have no difficulty in recognizing the mastery of Mark Kroll.”
Lisbon Diario de Noticias

“A dazzling harpsichord recital by Kroll…velocity without flurry, clear differentiation of polyphonic voices through rhythmic emphasis, clean ornamentation…”
Boston Globe

“…an expert of fortepiano and harpsichord performance.”
Taiwan Times

“Mark Kroll’s research on both Rieti and his music has done much to bring them to the attention of today’s listener. Triptych for Two Harpsichords (1982) is performed by Marina Minkin and Mark Kroll [with] fine communication and vivid playing…with violinist Carol Lieberman performing Rieti’s Sonata Breve (1967) giving expression to its spicy good humour and feisty, buoyant energy.”

Pamela Hickman, Harpsichord & fortepiano (Autumn 2016)

Mark Kroll