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Laura Rónai
Fanfare, November 2007

…two marvelous flutists playing the works of a 19th-century composer who is almost unknown today. It is a small jewel, and a labor of love, not to be missed. © 2007 Fanfare Read complete review

Giv Cornfield, Ph.D.
The New Recordings, Cliffs Classics, August 2007

This composer, who died at a tragically young age, is a fascinating figure in Danish music. Although blind, he became a virtuoso of the flute under the tutelage of Friedrich Kuhlau, and was also employed as a church organist. His duets are charming and well-proportioned, but sound uncannily similar in style to Kuhlau. The performances are assured and more than competent, though inevitably somewhat shrill sounding in the very high tessitura that Jensen often favours.

Laura Rónai
Fanfare, July 2007

Niels Peter Jensen is a worthy heir to this tradition. Following the style of his teacher Kuhlau, his music is light fare, but extremely well prepared, agreeable, melodious, surprising at turns, full of wit and interesting modulations. This unpretentious but highly palatable material finds in Barboza and Most the perfect champions. Both are accomplished musicians; they play with the most beautiful tone (helped by their choice of instruments—two wooden flutes) and a delicateness of approach that serves the music at all times. Phrasing is consistently sophisticated, varied, flexible, nuanced, with no hint of gratuitous virtuosity. Rarely does one hear such absolutely wonderful execution lavished on a lesser-known master. The result is as appetizing as a simple dish prepared by a truly dedicated and refined cook. Nothing is exaggerated in any way. Musical gestures are always clear and organic, never theatrical or overdone. Each flutist carefully and generously listens to his partner and gets out of the way when the music requires. Rubatos are perfectly calculated, and moments of lyricism are balanced with true vigor and stamina. Articulations are also deserving of mention. They seem so simple and direct, but any flutist will recognize the virtuosity involved in producing so many different kinds of attacks and slurs, in a remarkable profusion of intentions and realizations. Agogic inflections are just marvelous, coming always at the right point, and emphasizing the gracefulness of the music, without ever making it lose momentum. © 2007 Fanfare Read complete review

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