|"Richard Dowling is an especially impressive, fine young pianist."
-- The New York Times (April 86)
"Dazzling technical equipment is obviously still a marked requirement of the American school of piano-playing, judging by the playing of Richard Dowling...
discriminating artistry...Liszt that had the authentic sparkle and wit."
-- The Pretoria News (South Africa) (January 92)
"Capturing the true essence of Chopin, Richard Dowling conveys the poetry in the works.
Here, clearly, is a pianist of high ideals as he approached every work on the programme with utmost attention to detail in balance, phrasing and pedalling. More importantly, his efficient technique was unfailingly musical and even the most daunting technical passages were transformed into objects of beauty. Dowling had something personal to say and impressed with impeccable control of colours and textures...he received a standing ovation and left the audience craving for more at the end."
-- The Singapore Business Times (July 97)
"Dowling, a pianist with polished technique, was the master of creating beautiful sounds without being excessively sentimental. The intensely descriptive and sensory nature of
Ravel's works are well suited to this pianist's style."
-- The Singapore Business Times (April 98)
"Ravel's wickedly bravura and treacherous Alborada del gracioso was projected with unflappable poise and craftsmanship...Chopin's Andante spianato thrived from elegant jeu perle and buoyant, bracing elan. Mr. Dowling has lavished a good deal of research on Gershwin's legacy and his devotion and affinity for his music is self-evident.
Dowling's sympathetic recreations of Gershwin's style revealed a patrician, classical purity."
-- New York Concert Review (Summer 98)
"The young pianist Richard Dowling dances through 29 Gershwin numbers with exuberance and a natural feel for rubato. He plays with what Gershwin called the stenciled style--fast, upbeat, and snappy. Dowling's inspiration is Gershwin's own style, which eschews heaviness and sentimentality. The recording has a dry sparkle perfect for Dowling's no-nonsense playing. If you love Gershwin, don't miss this!"
-- American Record Guide (March 02) Review of Sweet and Low-Down CD
"Gershwin's piano pieces are lovingly recreated here by Richard Dowling (who includes a first recording of Gershwin's rendition of the Andantino moderato theme from Rhapsody in Blue). He's an excellent Gershwin pianist, whether limning the slightly wistful outlines of
Three-Quarter Blues or stomping joyously through Swanee.
Richard Dowling captures the period charm admirably."
-- Fanfare Magazine (May/June 02) Review of Sweet and Low-Down CD
"Richard Dowling's performance was prodigious in musicality and pianistic might. Such energy is gratifying to see, because it is upon the communicative gifts of pianists such as Dowling that the future of the piano recital may depend. That he also plays stupendously was certainly proved in this concert. Dowling's technique was virtuosic and untiring all evening. It also dealt flawlessly with works of the most exacting technical challenge all the while making musical choices that were honest and tasteful."
-- The Bryan-College Station Eagle (April 2002)
"Dowling displays superb technique -- his style is very much French ingrained,
most noticeably in finger articulation and arm movement."
-- The New Straits Times, Kuala Lumpur (November 98)
"Dowling played with vitality and finesse.
Here is an artist who is able to project with clarity and fine sonority Chopin's moods,
which range from fiery pianism to the lyrical style for which he is most noted."
-- The Island Reporter, Sanibel Island, Fla. (April 96)
"Dowling has real talent and substance, a musician with something to say, the skill to say it and the magnetic power to make you want to listen. Dowling's performance of Ravel's La valse was at once a stunning display of pianism and an interpretive tour de force.
It wasn't just music--it was theater, story-telling of the best sort."
-- The San Antonio Express-News (October 91)
"Dowling's style was sensuous, with finely-etched clarity and
a silvery, seductively beautiful tone.
Emotionally involving...extravagantly expressive interpretation...
Lowell Liebermann's Nocturne No. 3 was played with a convincing blend of
poignancy and conviction."
-- San Antonio Light (October 91)
"Dowling's pyrotechnics ran the gamut from studied elegance and authoritative shyness to almost personal reverie...his tender performance (of Mozart's Piano Concerto in C, K. 467)
was a moving tribute masterfully done."
-- Laredo Morning Times (November 92)
"Dowling gave a high-voltage recital and obviously has technique to spare; even at whirlwind tempos, his playing was quite clean. He also has a knack for dramatic underlining and Lisztian forcefulness...admirable taste, shaded with an idiomatic sense of rubato."
-- Fort Lauderdale Sun-Sentinel (February 93)
"Dowling's performance of Ravel's Alborada del gracioso exhibits his
genuine affection for French music.He plays with considerable depth,
expressing a forceful understanding of this style of music."
-- Classical Magazine
"To find a piano soloist to play the concerto (Mozart K. 488 in A), the orchestra held a university-wide competition that was judged by orchestra members. 'We wanted to find the best concert pianist at Yale. That turned out to be Richard Dowling.' Master Firk will award the Trumbull Arts Prize to Dowling at the concert."
-- The Yale Herald (November 86)
"It was simply incredible to watch Richard Dowling skim up and down the keyboard.
It is only a genius like Richard that could make the instrument send out those lively trills and scales up and down the keys. A thrill to behold!"
-- Elk City (OK) Gleanings (January 03)
"Unusual, star-quality talent...big, physically strong technique...dramatic, adventuresome"
--Houston Chronicle (February 85)
"The assurance with which he strode onto stage carried through his entire performance.
Dowling excelled whether in bravura passages or
the rhapsodic romantic style of Rachmaninoff (Piano Concerto No. 1 in F-sharp).
His musicianship was displayed in subtle touches and adept spacing."
--The Bryan-College Station Eagle (May 88)
"His stunning performance of Liszt's Piano Concerto in E-flat
brought him a well-earned standing ovation."
--Midland-Odessa (TX) Reporter-Telegram (March 84)