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Classical Guitar Magazine, January 2014

Here is another guitarist from the ever-increasing renowned Naxos catalogue. Of the many guitar recordings I’ve reviewed over the years from this company I have yet to come across any player who fails to put in a less than brilliant performance. French guitarist Jeremy Jouve is no exception. © 2014 Classical Guitar



Kenneth Keaton
American Record Guide, November 2013

…Jouve is thrilling. Un Tiempo Fue Italica Famosa is almost as rarely heard. It’s a big work with a sprawling structure, and Jouve handles the architecture better than any I’ve heard. © 2013 American Record Guide Read complete review on American Record Guide



David Denton
David's Review Corner, June 2013

Joaquin Rodrigo’s two popular works for guitar and orchestra has created the aura of a major composer for the instrument, though his catalogue of works is small. Indeed it extends to no more than twenty-five works, and never having played the instrument he was somewhat indifferent to the problems his works pose to the performer. In a way that was good, as it has extended the ability of the guitar world to meet such demands. Not that Jeremy Jouve needs such stimulus, his account of the fiendishly difficult Toccata being both exciting and brilliantly performed, the rhythmic drive maintained throughout. Though you will find plenty of melodically attractive music in this second volume of the complete guitar music, it does remind us that Rodrigo was working in the 20th century, and at times sounds distinctly abstract, the Tiento antiguo seemingly an exploration of guitar sonorities. By contrast the Pajaros de Primavera is a highly descriptive piece of bird music with delightful twittering. Tres pequenas piezas was intended for the young guitarist, with sufficient challenges to be of interest, the central piece a moment of pure flamenco exuberance. To add to this slender repertoire, Jouve has transcribed the piano piece, Pastoral, and a work for violin and piano, Canconeta. Written in Rodrigo’s Indian Summer at the age of eighty-eight, Un tiempo fue Italica famosa (Once upon a time Italica was famous), requires technical virtuosity without in any way becoming a showpiece. The performances are very good, and the recording, from the now famous Canadian recording venue, is exemplary. © David’s Review Corner





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