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Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, January 2017

We are left after hearing this program with the distinct impression that Rodrigo was no one-trick pony, but rather a thorough craftsman and superb lyric Spanish voice throughout his career. These pieces are without fail miniature gems from a sure master of his own very original modern Spanish style.

Anyone who gravitates towards the “Spanish tinge” will find in this CD a delightful mix of memorable chamber sounds. Highly recommended. © 2017 Gapplegate Classical-Modern Music Review Read complete review

Bruce Reader
The Classical Reviewer, January 2017

These are lively, idiomatic performances that bring a further view of this composer. They are rather closely recorded but the ear soon adjusts. © 2017 The Classical Reviewer Read complete review

Records International, December 2016

These violin pieces, like most of Rodrigo’s 200-odd compositions, have been overshadowed by the ubiquitous Aranjuez and gentihombre guitar concertos but they have the same bright cheerfuless in fast movements and meltingly lyrical slow parts and deserve better than they’ve received on disc. © 2016 Records International

David Denton
David's Review Corner, November 2016

Joaquín Rodrigo’s works that include the guitar have become so popular we are beginning to lose contact with much that he wrote in the field of chamber music. This release goes some little way in rectifying this situation with a small crop of works for violin and piano, the composer creating a very original style with sounds of such a personal nature that they come as something of a culture shock. That is immediately evident in the opening Sonata pimpante, the piano part the dominant factor as the violin decorates the thematic material. The texture Rodrigo creates is unusual and fascinating, but in the third movement it is also surprising, its percussive nature bordering on the bizarre. The Set cancons valencianes (Seven Valencian Songs) is a much more conventional set of variations on melodies from Valencia, the basic content nicely contrasting as we move through the work, with a curious Andante religioso as the penultimate piece before a Bolero. That dates from 1982 and was his final score in the genre, though his interest in the violin began in 1923 with his first opus number given to Dos esbozos (Two Sketches). Pleasing cameos. An unaccompanied virtuoso showpiece in the Capriccio; two short pieces with guitar accompaniment, Serenata al alba del dia and a Spanish view of musical Romania complete the disc. Born in the Canary Islands, but now resident in the United States, the winner of top-rated violin competitions, Eva Leon, makes a passionate advocate, her technique making light of Rodrigo’s demands. Olga Vinokur is an ideal accompanist, with Virginia Luque’s brief guitar presence a joy to hear. Unusual sound quality that you get used to. © 2016 David’s Review Corner

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