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Bradley Lehman
American Record Guide, September 2019

In this wonderful performance, Glen Wilson spends 53 minutes playing most of the pieces from these books. To fill the remaining space he has selected 24 minutes of contemporary or slightly later French music to give some historical context.

His anonymous Italian harpsichord might not be the most authentic choice for this old French repertoire, but it sounds good. © 2019 American Record Guide Read complete review on American Record Guide




James Manheim
AllMusic.com, June 2019

Wilson whipped these pieces into shape, and his contribution is valuable for this reason alone. Like other collections of early keyboard music, Attaingnant’s publication is derived from chansons and dances, with one motet; Wilson intelligently alternates between them. What’s most interesting is that the arrangements, all by unnamed composers, diverge quite a bit from the by-the-numbers pieces of keyboard music coming out of the Low Countries around the same time. They are quite ornate, and clearly split from their models at times. Wilson appends a group of pieces not published by Attaingnant, and these are even more intricate. © 2019 AllMusic.com Read complete review




Johan van Veen
MusicWeb International, May 2019

Glen Wilson is one of those performers who likes to delve into unknown treasures. His Naxos discography of recent years attests to that. This disc is another jewel in his crown. His playing is, as always, stylish and thought-out. It is nice that he delivers extended notes to the music and to single pieces as well to some of his editorial and interpretational decisions. I strongly commend this disc to any lover of keyboard music. It will certainly fill a gap in his or her collection. © 2019 MusicWeb International Read complete review



David Denton
David's Review Corner, April 2019

I have used the description on the front cover of this new release, though it is very confusing, Pierre Attaingnant being the publisher of harpsichord pieces in 1531. Some of the composer names were known, others handed down as ‘anonymous’, many probably starting life as chansons and dances, and later arranged by unknown harpsichordists. Whatever the background to their origin, the world will be grateful to this Paris-based printer for their preservation, though, as the eminent American harpsichordist, Glen Wilson, was to discover, when the original compositions are known he found the Attaingnant books full of errors he has corrected for this release. Worse still was the lack of identifying the composer, when at the time Attaingnant could have spent time researching their identity. Here thirty in number, few exceed two minutes in length, and many last under the minute. So we have a series of cameo melodies chosen by Wilson, mostly of a vivacious nature, and played on a very ‘punchy’ period Italian instrument. The whole experience being one of joy, with the rather close recording retaining a very clean quality to convey Wilson’s deft playing. The enclosed booklet sketches out the history, and gives as much information as Wilson’s researches have taken him. Sampling point – try track 16 and you can readily visualise the scene of stately dancers. © 2019 David’s Review Corner





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