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Kenneth Keaton
American Record Guide, July 2016

[Perroy’s] technical command is astonishing; and his grasp of the sprawling structure of the Folias variations is impressive, …One might complain that his playing is so dramatic that it comes close to overplaying, but I’m willing to tolerate a bit of roughness for the excitement. © 2016 American Record Guide Read complete review on American Record Guide

Bradford Werner
This is Classical Guitar, March 2016

From extroverted virtuosity to intimate melodic playing, Judicaël Perroy delivers some of the best performances of Ponce’s music. The strong melodic element, rhythmic excitement, and beautiful harmonies make this music some of the best in the guitar repertoire. Guitarists and general listeners will love hearing the massive Variations sur ‘Folia de España et Fugue’ and everyone can enjoy the simple and touching Variations on a Theme of Cabezón, Ponce’s final work for guitar. The two versions of Thème varié et Finale also make for an interesting comparison. © 2016 This is Classical Guitar Read complete review

David Denton
David's Review Corner, February 2016

We have reached the fourth volume in the complete guitar works of the Mexican composer, Manuel Ponce, his musical ancestry coming from his studies in Europe. Settling into a life as an outstanding concert pianist and a composer, his many warmly received early works included concertos for both piano and violin. Then it was a chance 1923 meeting with the famous guitarist, Andrés Segovia, when Ponce was already forty-one, that engendered an interest in the instrument. It was just as well, for today Ponce is known by little other than his works for the instrument, the present disc including the Variations sur ‘Folia de Espana et Fugue’, a score lasting almost twenty-five minutes that challenges the technical expertise of the performer, and is one of the most monumental in the guitar world. It is created from a set of twenty variations exploring all the traditional performing techniques, though those crazily difficult passages are punctuated by extended sections of lyric beauty. It dates from 1930, two years before he completed the short Sonatina Meridional, an uncomplicated score of a pleasant attitude. I am not really sure why we need both the 1926 and 1928 versions of the Theme varie et Finale, the difference not much more than the omission of three variations in the later score. Variations on a theme of Cabenoz and the Andante to an unfinished Second Sonata are make-weights. Perfectly precise and articulated playing from the much travelled French guitarist, Judicaël Perroy, his left hand moving silently around the instrument with difficulties just disappearing. Impeccable recording from Naxos’s Canadian team. © 2016 David’s Review Corner

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