Reviews

The playing is outstanding. All the music here is of interest. What is clear is that this production, overseen by the eminent recorderist John Turner, reveals a wonderful treasure chest of music in the repertoire’s Highways and Byways. Long may these explorations continue.

…the first thing to strike the listener…is Ffinch’s sheer technical facility…the combination of works conceived for organ and arrangements, the blend of innovation and tradition, all rendered on that organ, in that space, by that truly superior organist, make this a recording not to be missed.

[Freddy Kempf] is alert to the small details that are at the heart of the stylistic mixes here. The best-selling status of this album, which landed on classical charts in the summer of 2024, should be taken not simply as a tribute to Dibble but as a sign of interest in a genuinely fresh work.

…magnificent performances from all the artists, a splendid recording, and an informative booklet…This two-disc set is a rewarding exploration of music by Thomas Pitfield, his contemporaries, and friends.

I would recommend this album to anyone that is looking for new works…brought to life by Ronald Woodley’s wonderfully emotive and expressive playing.

…it is good to hear this music, because it is excellent! Everything on these discs is played with loving commitment.

In its quiet reserve and sincere expression, Leach’s music on this release is uplifting in the best way and transporting in its evocativeness. While it certainly wasn’t created with it as its primary goal, Diary of the Bee makes one long to visit Marchmont House and walk amongst its grounds with her replenishing music as the soundtrack. This encompassing collection presents a most flattering portrait of her considerable gifts.

The group has committed itself to Cowie’s music for many years, and that closeness and innate sense of understanding is everywhere evident in these vividly characterised performances, offered with striking confidence, conviction and insight. All told, a deeply appealing release, its performances captured in appropriately rich, close and natural sound.

The whole is a quite remarkable achievement, unique in character, technically highly skilled and in places very moving.

Leach’s music on this disc may be best classified as Scottish Lowland pastoral…melodically pleasant, and well distributed across instruments or groups of instruments…very attractive.

The sound is perfect…one of the most beautiful-sounding recordings I’ve heard recently…this is a fascinating account of Schumann piano works well-known and not, and worth adding to a collection of recordings

…terrific album…This is a pair of modern pianists having a great time.

His [John Turner] playing is reliably solid, sometimes with vibrato, sometimes without, on descant, alto, and tenor recorders. The range and variety of British recorder music is substantial. Much of it is accessible to the amateur performer and though conventional, not boring, as a few minutes spent here will prove.

All of these light, good-humored miniatures are underpinned by a solid command of counterpoint and craft; as a result, it never feels like merely a potpourri, but a thoughtful collection. I am quite satisfied with these sympathetic, expressive performances by Christopher Guild.

A program of oft recorded transcriptions and organ favorites. His [Alexander Ffinch] playing is musical, well thought out, with rational tempos, making this a most enjoyable recording

This album of contemporary recorder music is full of surprises. John Turner is a true virtuoso. So consider this a mere sampling of what’s available. And a demonstration of how beautiful and expressive the recorder can sound. The album delivers both in quality and quantity.

One needs to know that Thomas Baron Pitfield was a polymath…he has been unfairly ignored on the wider stage of concert halls and recital rooms. I had noted earlier that I enjoyed, and genuinely warmed to, the pieces of his which I heard. [The performances] exude brilliance, technical competence and a sympathetic understanding of Pitfield’s music.

The discs offer magnificent performances, a splendid recording and an informative booklet. This is a rewarding exploration of music by Thomas Pitfield and his circle.

The project naturally carries with it the weight of Dibble’s passing, yet there’s nothing maudlin about Kempf’s probing and clear-headed renderings. If ever a recording deserved to be regarded as a celebration of a composer’s work, 24 Preludes & Fugues is it. At 111 minutes, there’s much to absorb, but the huge scope and high calibre of the material more than rewards the investment of time and attention required to appreciate it. Were Dibble still with us, he’d be no doubt thrilled with Kempf’s presentation.

From the outset I was gripped, both by the music and by the quality of the performance. It was wonderful to listen to music which is both emotionally powerful and at the same time intellectually stimulating and satisfying.