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David W Moore
American Record Guide, November 2016

These are all relatively light in mood, though some are fairly demanding technically. They make pleasant listening and are played well by Gledhill and Imai. © 2016 American Record Guide Read complete review on American Record Guide

Richard Bratby
Gramophone, October 2016

…these are affectionate performances, Gledhill making the most of Squire’s signature left-hand slides, throwing off the occasional fireworks (as in the miniature Hungarian rhapsody Tzig-Tzig) with delightful insouciance and strumming the pizzicato final chords of the Humoresque with a playful wink. Imai is a responsive partner and the pair have an unforced instinct for the ebb and flow of the slower pieces. In short, there’s a lot of enjoyment to be had here—and not just for cellists. © 2016 Gramophone Read complete review on Gramophone

Oliver Condy
BBC Music Magazine, September 2016

The music of this celebrated turn-of-the-20th-century British cellist is moderate fun, although best in smallish doses. Gledhill and Imai do the best they can. © 2016 BBC Music Magazine

Bruce Reader
The Classical Reviewer, August 2016

These are fine performances of much character from Oliver Gledhill, both players finding moments of wit and humour and a fine rapport. They are nicely recorded at The Wathen Hall, St. Paul’s School, Barnes, London, England with a fine ambience around the players and excellent notes from the cellist… © 2016 The Classical Reviewer Read complete review

John Suchet
Classic FM, July 2016

William Henry Squire was Britain’s leading cellist from the late 1890s to the late 1920s and a prolific artist in the early recording era. He composed a series of exquisite miniatures for the cello, the best of which are collected here for the first time. They were written largely between the ages of 18 and 33, often with specific audiences in mind—whether Promenade Concerts, recital platform or grade examinations—and include his signature piece, Sérénade, and his enigmatic tribute to Dvoƙák, Chansonnette. Five of the 20 have never before been recorded so this really is quite a discovery, and quite an achievement for young cellist, Oliver Gledhill. © 2016 Classic FM

David Denton
David's Review Corner, July 2016

In the years that spanned the turn of the nineteenth century the name of W.H. Squire (as he was known) was pre-eminent in the cello world and prolific in recordings. Elegant of appearance and in his style of playing, he was always in demand as a recitalist, and for that purpose he composed a large number of salon works for the instrument, each being of encore length. Twenty have been chosen for this release and show Squire’s gift of immediately likeable melody, the music mostly within the scope of the amateur cellist, and from that aspect would have been highly commercial in the sale of sheet music. They are played by Oliver Gledhill, an expert in the music and life of Squire, and he does, of course, have the benefit of those early recordings on which to base his approach to the cameo pieces. Though Squire did live a long life, the fascination of composing passed by quite early on, the disc covering the period from his nineteenth to his thirty-third year. It is an age long since past and steeped in Victoriana, but the nostalgia side of me that recalls gathering at home around the piano, has greatly enjoyed the disc. The piano accompaniment is played with sensitivity by the London-based Japanese-born, Tadashi Imai. The recording is well balanced, bright and with the surrounding aura of requisite charm. © 2016 David’s Review Corner

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