Here are some comments from Jacqueline’s teachers, and reviews of her concerts.



Jacqueline Cole’s piano recital at St John’s Smith Square, on 25 September 2002 was a revealing one, not only in her chosen repertoire, featuring suppressed composers, but of her own tremendous resources of musicianship and artistry. Her programme began with the world premier of Svetislav Bozic’s Byzantine Moziac, nine sketches dedicated to the jubilee celebrations of …

David Alker

“Thank you Jacqueline Cole for your most poetic interpretation of ‘Alouette Lulu’. With all my very friendly congratulations.” Olivier Messiaen, July 1987

Olivier Messaien

Profile of “post-obsessionist” artist Jacqueline Cole, by Howard Spier, in the AJR Journal (Association of Jewish Refugees) May 2005. Review (PDF)| Full journal | AJR Website

Howard Spier

“…Cole’s playing throughout made a deep impression…” Musical Opinion 2005

“Jacqueline Cole showed what exquisite jewels are contained in the music of Viktor Ullmann”

Musikclub Konzerthaus Gendarmenmarkt Berlin Der Tagesspiegel 2005





“Jacqueline Cole impelled Ullmann’s vision with dramatic intensity and virtuosity”

Malcolm Miller Musician Opinion May 2002


“Jacqueline Cole certainly did not set out to woo her audience in her debut recital built entirely on the massive blocks of Bach’s Goldberg Variations and the 4th book of Messiaen’s Catalogue d’Oiseaux at the Wigmore Hall. Her Bach was full toned, big boned, slowly and surely expansive in its pacing of the mighty variations.”

Hilary Finch, The Times April 11, 1988

“She has matured into a performer of outstanding artistry with an individual and highly concentrated style. The recitals I have heard have been remarkable for their insight and resourceful pianism”

James Gibb Head of Keyboard Guildhall School of Music, Summer 1985

“Rainbow chords streamed in Floda [church]”
(from Uppsala Times, December 1984)

“Hopes and Thoughts..”

Nadia Boulanger 1972





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