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Charles T. Downey
Ionarts, April 2013

In general, Vinikour plays with pleasing variety, never satisfied with purely mechanical grind or simple repetition, making diverting changes in registration, ornamentation, and phrasing on the repeats. Dances have an infectious rhythmic impulse…The harpsichord has all sorts of surprises in it, drawn out by Vinikour… © 2013 Ionarts Read complete review

Rob Haskins
American Record Guide, March 2013

Generally, Vinikour’s tempos are slower, revealing a great sensitivity for some movements like the Courante in the Aminor Suite from the Nouvelles Suites. My favorite Rameau piece, the Allemande from the same A-minor Suite, is profoundly lyrical: every harpsichordist (or pianist, for that matter) who ever attempts this piece should follow Vinikour’s example. I’ve always thought Rameau’s music deserves a wider audience; perhaps Jory Vinikour’s recording, which has been nominated for a Grammy, will help bring it about. © 2013 American Record Guide Read complete review on American Record Guide

John von Rhein
Chicago Tribune, December 2012

Classical CDs full of aural pleasures

Far from specialists’ repertory, these Baroque solo keyboard pieces are replete with charming musical invention. The Chicago-born harpsichordist is fully inside the French style, which you would expect from a musician who’s long been based in Paris. © 2012 Chicago Tribune

John Sunier
Audiophile Audition, November 2012

Vinikour…performs on a modern copy of a 1707 French baroque instrument, and the recording has great presence without noticeable action noises. The program is well-arranged and described in detail in the extensive booklet of notes by Vinikour. The first disc has Suites in a minor, e minor and D; the second CD opens with another suite in a minor and the Suite in G. There is plenty of energy and sparkle in the performances and the ornaments sound just right and smoothly integrated into the music.

At the end of the second CD is a bonus—a transcription by Claude Balbastre of the Overture to Rameau’s Pigmalion, making a lavish conclusion to the collection. © 2012 Audiophile Audition Read complete review

Donald Rosenberg
Gramophone, October 2012

Vinikour’s performances are so buoyant, glistening or noble that you’ll likely find yourself glued to your speakers (or headphones). And if you’re accustomed to hearing the harpsichord at some distance in a concert hall, be prepared to listen as if you’re standing next to the keyboard or hovering over the strings. As played by Vinikour on a 2005 Wolf harpsichord based on a 1707 Nicholas Dumont, Rameau’s creations are narratives of robust and urgent vibrancy. © 2012 Gramophone Read complete review on Gramophone

Lisa Flynn
WFMT (Chicago), September 2012

Rameau’s output as a composer for solo harpsichord must be considered among the most important in French 18th-century keyboard repertoire, along with that of François Couperin. The musical and harmonic ingenuity demonstrated throughout these works, as well as Rameau’s uniquely idiomatic approach to the harpsichord, ensure these works a permanent place in the repertoire of all harpsichordists. © 2012 WFMT (Chicago)

Crossover Media, June 2012

In an incredible illustration of virtuosic performance, Sono Luminus brings you The Complete Harpsichord Works of Rameau, with world renowned harpsichordist Jory Vinikour. Rameau’s compositional penchant for combining technical prowess with musical artistry is brilliantly showcased on this two disc set of solo harpsichord music. The musical and harmonic ingenuity demonstrated throughout these works, as well as Rameau’s uniquely idiomatic approach to the harpsichord, ensure these works a permanent place in the repertoire of all harpsichordists. © 2012 Crossover Media Read complete review

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