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New York Times
"... A pianist who possesses not only an overwhelming talent but extraordinary musical sensitivity as well. At every point in every selection on his program. Mr. Westcott kept this rare combination of virtuosity and profundity in balance, so that when his performance was over one didn't know whether to be more awed by his command of the keyboard or moved by his interpretive vision."
"...It is a rare stroke of good fortune when one hears a pianist whose playing leaves nothing to criticize. Such was the case at Mark Westcott's evening recital. In unexplainable ways he made palpable the direct and deep connection between interpreter and audience: one sat and only heard music... He exhibits an artistic maturity which was as astonishing as it was admirable.... Johann Sebastian's sharp contours were immersed in swimming forms and tender colors. This was a Bach conquest which places Westcott on the plane of Wilhelm Kemff."
"... He not only threw some fairly solid conventions out the window, he kicked them across the street... He's a most arresting pianist. A storyteller who uses classical composers such as Mozart and Beethoven to tell the many things, all of them personal: anger, euphoria, danger, sadness, beauty. Like the great pianist, he conveys the gesture behind the music... Westcott's talent is huge. He can play anything at any tempo, and look at the ceiling while he's doing it."
"THAT EXTRA SOMETHING IS WESTCOTT AT A PIANO. He is a musician whose playing indicates that he hears in his mind and not solely at his finger tips what he wants to project. What he hears is a unity of concept for a given work, be it the brief mood-contrast of each of the six Bagatelles of Beethoven's Opus 126, the primitive drive of the outer movements of the Bartok Sonata, the agonizing middle movement Sostuneto, or the grand sweep of the early Brahms Sonata."
"...Westcott is a poet and a mystic one at that.... A musical experience of such awesome beauty you didn't dare breath for fear of breaking the Spell."