“I am not clear how it is possible to achieve the variation in voice, as well as tone and dynamics, we heard in his approach to music written for organ and piano, but it was certainly audible. And the visual advantage of the front-facing accordion is that his remarkably dextrous technique could not have been easier to admire.”

"Immense virtuosity and musicality"

“The star of the evening was accordion virtuoso Ryan Corbett. At just 26, [he] commanded the keys and buttons with the highest brilliance, conjuring through contrary movements and tremolo effects a mystical, magical atmosphere. He seamlessly wove together everything that a listener might associate with the instrument, from Parisian musette to Argentine tango.”

“One of the most astonishing and surprising young newcomers in Scottish music.”

“Whether the one voice clarity of a Bach Fantasia, arranged by lead accordionist Ryan Corbett, the tour de force that is Russian composer Vladislav Zolotaryov’s Rondo Capriccioso, or the visceral edginess of the waltz from Khachaturian’s Masquerade, each piece from this Royal Conservatoire of Scotland group amazed and astonished anew.”

“Stravinsky’s jagged cross-rhythms and biting syncopations sounded far better on two accordions than you have any right to expect. The nerve-jangling rawness of the climax was every bit as full as you would normally get in a concert hall and, if this arrangement is a bit of a curiosity, then it’s one I am really pleased to have heard.”

“There’s never any doubt about the technical skill on show here. Corbett with his quiet manner, and witty knowledgeable commentary is a splendid ambassador for the accordion. What a revelation this concert has been!”

“A virtuoso of real individuality and imagination, whose artistry captivates the audience every time. He seems set to be one of those rare performers who will genuinely change perceptions about his instrument and what it can do - a true ambassador for the accordion.”

“From the moment we heard Ryan play we knew we were in the presence of a very special musician. His technical mastery of the instrument is second to none, but his astonishing virtuosity is always employed in the service of the musical ideas and never just for its own sake. He’s a generous collaborator and I’ve no doubt will end up being one of the great advocates for the accordion.”

"Three Bach arias about mortality were the highlight; strangely moving in tone, perhaps because the accordion's sound is so reminiscent of human breath: touching, frail, transitory."