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Jonathan Welsh
MusicWeb International, February 2017

…this is a great disc, thoroughly enjoyable and certainly well worth seeking out. © 2017 MusicWeb International Read complete review

Marius Dawn
Pianist, December 2016

Benjamin Frith has done a stellar job in bringing these concertos into the sunlight, brilliantly supported by the Northern Sinfonia under David Haslam. Field’s Irish Concerto, a re-working of the first movement of his Second Concerto, is a 22-minute cat-and-mouse chase between soloist and orchestra, the orchestra here being the Royal Scottish National Orchestra and Andrew Mogrelia in an absolute sportive mood. © 2016 Pianist

Alex Baran
The WholeNote, September 2016

…[Frith’s] gentle touch matches the beauty of Field’s numerous and ornate melodies. This is lovely material and Frith lets not a single note escape his affectionate attention. © 2016 The WholeNote Read complete review

Bruce Reader
The Classical Reviewer, September 2016

Andrew Mogrelia and the Royal Scottish National Orchestra turn in a quite lovely performance to which Frith brings his fine touch, revealing some beautifully fluent, often richly toned phrases, bringing a real feeling of spontaneity. There are moments of great wit and charm from both soloist and orchestra with a beautifully shaped central section.

Benjamin Frith brings a spectacularly fine Piano Sonata No. 4 in B Major, H. 17a recorded in 2013. He develops the Moderato brilliantly, subtly rising through some very fine passages, bringing an almost Beethovenian strength. …Frith shaping and colouring the music to perfection, running through some terrific fluent, richly textured passages. This performance is a real joy. © 2016 The Classical Reviewer Read complete review

BBC Music Magazine, September 2016

Benjamin Frith is the fluid, fleet-fingered soloist in this portrait of the father of the nocturne. Field dials up the drama for the C minor Concerto, but the music in general sticks to safe emotional and stylistic territory. © 2016 BBC Music Magazine

Norbert Tischer
Pizzicato, August 2016

[the Seventh Concerto]…gets a lively performance from the Northern Sinfonia, while the soloist, Benjamin Frith is a good advocate of Field’s music in all three compositions. © 2016 Pizzicato Read complete review

Lisa Flynn
WFMT (Chicago), August 2016

Dublin-born prodigy John Field enjoyed a wide reputation and great popularity. He was renowned as a soloist for his delicacy of nuance and as a composer for his cultivation of that most poetic of forms, the nocturne. His Piano Concertos were eagerly anticipated and the premiere of the Concerto No 7 in Paris in 1832 was attended by both Chopin and Liszt. The Irish Concerto is a reworking of the first movement of Field’s Piano Concerto No 2. © 2016 WFMT (Chicago)

Gavin Engelbrecht
The Northern Echo, August 2016

Pianist Benjamin Frith is joined by Royal Northern Sinfonia, under the baton of David Haslam, in John Field’s Piano Concerto No 7. A Dublin-born prodigy, Field was renowned as a soloist for his delicacy of nuance and as a composer for his cultivation of the nocturne. His piano concertos were eagerly-anticipated and the premiere of the Seventh in Paris on Christmas Day 1832 was attended by both Chopin and Liszt. The Irish Concerto is performed with the Royal Scottish National Orchestra, while the album is rounded off with Field’s Piano Sonata No 4. © 2016 The Northern Echo

Nicholas Kenyon
The Observer (London), August 2016

Field’s music is pleasing, sometimes touching, but doesn’t plumb any great depths. Benjamin Frith’s recordings of the earlier concertos with the Northern Sinfonia won deserved praise, and this account of No 7 was recorded a good while ago, presumably awaiting a companion in the shape of the Irish Concerto, which oddly reworks a movement from the Second Concerto, and a cheerful solo Piano Sonata. © 2016 The Observer (London)

David Denton
David's Review Corner, August 2016

Born in Ireland, but spending his formative years in London as a child prodigy pianist, John Field enjoyed a European career as a travelling keyboard virtuoso. As a composer he is said to have had a considerable influence on Chopin, and it was in the presence of the Polish pianist that the Seventh Piano Concerto was first performed in its final revised version on Christmas Day 1832. A teenage pupil of Muzio Clementi, Field’s melodic invention was fresh and attractive, and in his limpid passages you will appreciate why Chopin was to follow in his footsteps. Unusually the Seventh, which lasts over half an hour, is in two extended movements, each having contrasting sections, and requiring a performer with a delicate touch. So far as the orchestra is concerned, they simply underpin the piano, rather than having an important independent role. The score known as the Irish Concerto is a reworking of the first movement of the Second Concerto by Hans Priegnitz, an interesting twenty minute diversion used to exploit Field’s popularity. We have waited a long time for the release of the final instalment of Benjamin Frith’s complete cycle of Field’s Piano Concertos, his delicate hues and ability to make every note crystal clear in mercurial passages being ideal for the composer. As a welcome addition the Fourth Piano Sonata was written and published in St. Petersburg in 1813, its two short movements most engaging. The recording quality in Scotland is outstanding; good for the Northern Sinfonia (back in 1996), and distressingly poor for the sonata. © 2016 David’s Review Corner

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