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Jed Distler
ClassicsToday.com, December 2019

…Salo shows up like a full-time virtuoso. He not only has all of the notes comfortably in hand, but is thoroughly adept at voicing the counterpoint, navigating the sudden shifts in character and texture with ease, and planning out the dynamics. A most welcome release. © 2019 ClassicsToday.com Read complete review



Dominy Clements
MusicWeb International, December 2019

People should know more of Niels Viggo Bentzon’s work, and this carefully chosen selection by Per Salo is a tremendous introduction to his vast Well Tempered Piano. “From the riches of Lisztian textures to the most sparing and Webernesque of moments, you will find it all here.” © 2019 MusicWeb International



International Piano, November 2019

Every piece is individual and Salo’s performances have a sense of flow, of inspiration caught on the fly. © 2019 International Piano



Dominy Clements
MusicWeb International, October 2019

Per Salo is a force of nature as well judging by the energy emanating from this recording, and the synergy between performer and composer is as close as you could wish. There is such a huge variety of style, mood and character here that it’s hard to make firm definitions. I was pleased to see that Per Salo has given four broad categories to these pieces: The Manic, The Depressive, The Roguish and The Violent. © 2019 MusicWeb International Read complete review



David Denton
David's Review Corner, October 2019

Born in Denmark in 1919, Niels Viggo Bentzon, is probably the most prolific composer of the twentieth century, 664 works having been given an opus number.

His musical education was that of a pianist, his appearances in the concert hall spread over sixty years. As a composer he was self-taught, though he was to write in every genre including opera, ballet and numerous orchestral works that included 24 symphonies, yet his output was predominantly for the keyboard, works, it was said, he could write ‘in the twinkling of an eye’. From a stylistic point of view he was at the cutting-edge of modernity, entering into every new fashion as it appeared. Yet he was well acquainted with music from historic periods, Bach being the inspiration for his huge piano cycle, The Tempered Piano, which appeared in thirteen volumes composed over thirty-two years, only the first volume ever published. Among his champions has been the Danish pianist, Per Salo, who has taken from various volumes the Preludes and Fugues in all 24 major and minor keys, so as to create a score in the mode of Bach’s Twenty-four Preludes and Fugues. A strange work, almost eighty minutes in length, it moves around the various time-periods in piano compositions, though skirting around the avant-garde of the 20th century. It does include a brief look at music from the Chopin era, but often incredibly difficult to play, it reflects Bentzon the virtuoso of the keyboard. If it has a problem it is the simple fact that there is no continuity of style that runs through the work, and if you would return to the disc, once heard, will then be a matter of personal reaction. I reached the final track finding myself admiring Salo more than Bentzon, to which I added an equal admiration for the realistic sound quality. © 2019 David’s Review Corner



Records International, September 2019

The pianist [Salo] worked extensively on these and other pieces with Bentzon, and his cycle of 24 pieces showcases the enormous expressive range, superb quality of piano writing (Bentzon was, after all, a pianist of significant stature), and stylistic consistency of works written over a period of three decades. The Preludes and Fugues run the gamut from frantic and aggressive through puckish and playful or monumental and imposing, to melancholy and sombre, and the composer’s widely varied treatment of fugue, as texture or form, as tribute to Bach or displaying more modern preoccupations, is a fascinating feature of these pieces. © 2019 Records International Read complete review



Lynn René Bayley
The Art Music Lounge, August 2019

Bentzon used a grab-bag of ideas from several other composers, living and dead, to create his works…the music is exceptionally clever and, as I mentioned earlier, quite accessible despite the use of modern harmony, and Salo plays it with a great deal of wit and conviction. © 2019 The Art Music Lounge Read complete review





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