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Kenneth Keaton
American Record Guide, March 2016

Tsiboulski’s performance is quite fine. …His performances are delightful—expressive, technically strong, with a strong grasp of the architecture of each work. Indeed, his Sonata Mexicana is the finest I’ve ever heard—sparkling with pure delight. © 2016 American Record Guide Read complete review on American Record Guide

David Denton
David's Review Corner, October 2015

It was a meeting with the legendary guitarist, Andrés Segovia, in 1923, that was to change the life of the forty-one year old Mexican-born composer, Manuel Ponce. Whether it was for the good or bad is questionable, for while Segovia provided an international platform for his music, his lack of interest in modern music found Ponce writing for him in a style that had long passed into history books. That is turn typecast Ponce as a reactionary at a time when changes in style of composition was bounding forward. Thankfully for Ponce he did write in other genres that show he was well aware of musical events around him. So here we have four guitar sonatas that form the third part of Naxos’s anthology of Ponce they began more than a decade ago. In every respect they are immediately likeable, the jazzy rhythm of the Mexican dance in the First Sonata gaining it the name Mexicana. The score of the Second Sonata is irretrievably lost, so that the following work dates from 1927, and marked Ponce’s move to Paris, though you will look in vain for the oft stated French influence in his music. For the Fourth sonata Ponce paid ‘Homage to Fernando Sor’, though apart from the movement descriptions, it is the same pleasing Ponce we always encounter. And so to the Fifth, and his ‘Homage to Schubert’ where he does persuasively take us back to that era, particularly in the Moment Musical movement. Aleksandr Tsiboulski’s fingers do sound to be chasing notes in the work’s finale, but elsewhere his playing has been very clean-cut, and if you then read the notes with this disc in detail, you will find that these may well be the first recording of the sonatas with Segovia’s own superfluous editing removed. © 2015 David’s Review Corner

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