THE NEW YORK TIMES, New York, New York
". . . The Oberlin Trio . . . never less than polished and solid...an extraordinary combination of passion and precision...a fevered, emphatically arching account of the [Ravel] Piano Trio . . ."

MILWAUKEE SENTINEL, Milwaukee, Wisconsin
". . . these guys can play. They lent enormous sympathy to Ive's stream-of-consciousness evocations of quaint American tunes . . . the trio played with a balance and clarity that revealed a portion of Ives' musical thinking . . . one could hear Ives carefully controlling, almost measure by measure, the degree to which the instruments relate rhythmically and, especially, harmonically . . . Just as one suspects that Ives has abandoned any chance for a tonal center or re-uniting his voices, he abruptly closes with a couple of hymn-book chords that plant the music firmly at home in tonal ground. The joke is on the listener, and the players delivered it with a witty understatement that caused . . . the audience to laugh out loud . . . Their delicate, silvery timbres, flung out in sprays of notes at rushing tempos, formed the glittering surface so essential to Ravel . . . That would have been enough, but The Oberlin Trio did more. They cut through that beautiful surface with sharp, sudden spikes of crescendo and biting tone. In this performance, Ravel meant passion as well as beauty."

THE ARKANSAS GAZETTE, Little Rock, Arkansas
ARKANSAS GAZETTE, Little Rock, Arkansas ". . . turned in a no less than brilliant account of the Ravel piano trio...raging drama, gorgeous tonal colors, . . . The Oberlin Trio is first rate . . ."

THE MONTGOMERY ADVERTISER, Montgomery, Alabama
". . . Ravel's Trio, bristling with energy and commitment, was the highlight of the performance of the Oberlin Trio . . . the trio's approach to the music is thoughtful and enlightened by scholarship and marked by an innate sensitivity that is as rare as it is welcome among today's chamber ensembles . . . Brahm's Trio in B Major, Op. 8 was vital and ardent, from the opening Allegro con brio, through the famous mysterioso, mischievous Scherzo and the soaringly romantic Adagio, to the excellent sense of rhythmic complexity that brought the work to a rousing climax. This was indeed a major performance . . ."