“.. one must credit his [Douglas] strong legato finger technique. The pianist dusts off the Scherzo’s lighter, higher-register writing with ease … His measured tread through the Rondo reveals a rarely exposed dark undercurrent to the music’s disarming, nursery rhyme-like demeanour. Douglas’s Schubert/Liszt ‘Liebesbotschaft’ projects a lyrical warmth and gravitas … Schubert scholar Brian Newbold’s perceptive booklet notes deserve special mention.”

“… Douglas performs [three movments in A minor Sonata] with tremendous grandeur, emphasising expansiveness with his steady tempos and full, rounded sound. After two quite weighty movements, the closing Allegro vivace is thrillingly demonic and driven. The climaxes are truly titanic, transporting the sonata far away from the intimate drawing room into a modern, vast concert hall… The D major Sonata … opens exuberantly, with a chordal tattoo which Douglas presents not playfully, but determinedly. Fingerwork is pin-sharp in the rapid passagework, but the overall conception remains quite stately. The second movement is cautiously paced … but Douglas achieves a transparent texture, voicing the chords with infinite care. The closing Rondo is a delight, performed with exquisite delicacy of touch which lends seriousness to what is, essentially, a very simple piece. Given Douglas’s evident enjoyment of grander textures, the inclusion of Franz Liszt’s densely-written transcriptions of Schubert’s songs ‘Liebesbotschaft’ and ‘Ständchen’ … is entirely appropriate – a well-chosen finish.”