‘In a review of this sort of project it’s customary to add the caveat that these arrangements can’t begin to do justice to Mozart’s original conception of these works. In this case, thanks to four fully committed musicians—primarily the indefatigable Norris—that’s poppycock. The Jupiter, especially, is required listening’ (Gramophone)

‘Engaging, entertaining realizations from David Owen Norris on an original 1820s Broadwood piano’ (BBC Record Review)

‘The handpicked musicians beaver through happily, led by the prancing and dynamic David Owen Norris, armed with an 1826 Broadwood piano. Familiar music, delightfully played, viewed from a novel perspective; in a word, irresistible’ (The Times)

‘The Jupiter Project seeks to uncover an intriguing early 19th-century repertoire of arrangements of classical masterpieces for flute, violin, cello and piano. Here Bircher, Balding and Skidmore join the pianist and researcher Norris in some of its choicest fruits, giving vivaciously persuasive performances of Clementi’s 1822 take on Mozart’s final symphony’ (The Sunday Times)

‘Along with the rest of the programme, I cannot imagine a better realisation of the arrangement [of the Jupiter Symphony] … given clear recording to complement the performances and a very informative set of notes from David Owen Norris and Mark Everist, this is a fascinating release. I shall certainly be returning to these arrangements of K467 and the Figaro Overture … it’s all very well done’ (MusicWeb International)» More

‘The performances of these shrunken orchestrations are admirable throughout. David Owen Norris plays the solo piano part in the concerto, as well as the lion’s share of notes in the other selections, deftly. Understandably, all four of these works proffer a different energy and soundscape than the versions we are accustomed to in the 21st century. But so what? They are seriously entertaining even if drastically reduced in forces—ebullient and, at times, quite moving’ (The Arts Fuse, USA)

‘This Norris-led interpretation [of the 'Jupiter' Symphony] is immensely satisfying; if only orchestral performances were always as perceptive as this. The tempos are ideal and Norris holds strictly to them; there are no whims or fancies. The Symphony’s structure is clearly represented, every repeat is made and one’s attention is held throughout the forty-minute performance. Clementi strongly features the piano but he is able skilfully to represent all the inner lines—a remarkable feat in the complex fugal Finale’ (Classical Source)» More