John McCabe (1939-2015) was renowned as both a pianist (a Haydn specialist and supporter of many contemporary composers) and as a composer in his own right of very fine music in several genres. This double album was created from two vinyl LPs issued by Hyperion in 1981 and shows McCabe as a first-class interpreter of […]

To many people the high point of baroque keyboard writing, Scarlatti’s sonatas are invariably played on harpsichord. Joanna Leach allows a different aspect of the music to show through on the less percussive, but equally “authentic” square piano – here a Stodart instrument of 1823, made within 70 years of the composer’s death.

Played with a studied balance between flair, rhythmic freedom and a characteristic attention to detail. The finale [of Didone] fair takes one’s breath away; it is amazingly played by John McCabe. Pleasure from the first note to the last.

There can be no greater tribute to the artistry of John McCabe. When I hear his performances of Clementi (or Haydn, Ravel, or any number of other composers), I feel as if I am compelled to truly listen to the piece in question, noting all of its details. McCabe’s performance makes a serious case for the piece (Didone Abbandonata) as a worthy companion to Beethoven’s sonatas.. This is the mark of a great musician.

Mostly wonderful: McCabe does not overdo his pedal use, performs each work with care and clarity, and does not make the pieces sound as if they belong in the Romantic era. McCabe’s pianism on these works certainly stands the test of time – and, for that matter, so does the sound, which has greater warmth and richness than did most digital recordings from this time period. McCabe’s sensitivity to the music’s structure and his willingness to downplay the piano sound rather than emphasize it lead to a highly enjoyable listening experience.

The performances here are excellent. McCabe, showing a great affinity for Clementi’s piano sonatas, uncovers astonishing new realms of beauty.The accompanying notes by the composer’s widow lift this recording out of the stack of new releases with which we are all inundated and into the realm of something special.

John McCabe’s death in 2015 robbed us of both a brilliant and innovative composer and also an outstanding pianist whose particular love of Haydn and also a deep commitment to contemporary composers made him one of Britain’s most venerated musicians. Following the release in January 2019 of a recording made by McCabe of recent American […]

Joanna Leach is an excellent artist… the instruments presented here are very interesting and not easily available on disc. They shed light on a virtually ignored aspect of music-making in the 18th and 19th centuries.

The music could not have a more sophisticated or dedicated advocate. In each sonata [Seivewright] unwraps a musical gift of exquisite beauty

[McCabe’s] gifts as interpreter at the keyboard were very much equal to his abilities as composer. It is evident that McCabe delights in this piano music yet never indulges, electing for efficient lines and tasteful embellishment, reflective of both style and substance with accuracy and intellectual rigour.

Wonderful to see John McCabe finally being recognised as a pianist. McCabe’s use of sustaining pedal and generous sound offer a full-fat experience… an indispensible release.

The whole set is a stunner and well worth having. McCabe with his fingers sings, we mentally and musically dance along and we are all the better for it. Strongly recommended for the repertoire and performances! Bravo!

John McCabe plays some great piano pieces very well.

Nearly two hours of exquisite playing. Crystal clear articulation, gentle touch, and a very judicious use of pedals. McCabe makes this seem as easy as child’s play. (Five stars and rated ‘extraordinary’)

Joanna Leach adds to her well-respected output of recordings of square pianos with an eclectic programme of pieces on three pianos and a spinet. Joanna Leach articulates clearly, although there is a lack of contrasting over-holding and thus warmth of sound. However, at the 21st track… her playing transports us into another realm as soon as the third instrument, the Stodart square piano of 1823, is touched at the opening of the Soler sonata.