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Bradley Lehman
American Record Guide, March 2016

[Lewis] plays brilliantly, bringing out the color and humor of the music. He doesn’t change the stops as often as some earlier 20th Century players did, but makes plenty of contrasts through timing and touch. His enthusiasm is infectious, and this album is the only place to get some of this delightful music. It is a treat to hear this classic instrument in good sound. © 2016 American Record Guide Read complete review on American Record Guide



Jed Distler
Gramophone, December 2015

…the three-movement Sonata holds the most interest with its disarmingly simple melodies that gradually veer into unpredictable, asymmetrical directions.

Although Louis Durey’s Ten Inventions were originally scored for various instrumental combinations, they resonate beautifully on the Pleyel from one register to another, such as in No 3’s slowly cascading imitative passages, No 7’s wide interval leaps, No 8’s faux Bach allusions and the modal No 10’s closely overlapping counterpoint. Kudos to Lewis for exploring a fascinating corner of 20th-century harpsichord history in the right way… © 2015 Gramophone Read complete review on Gramophone



Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, November 2015

All of the music has a neo-classical quality. The hearing of the variety of works is enlightening and very enjoyable. Christopher D. Lewis does a fine job. I recommend this set for the music and performances… An excellent program is to be had here. © 2015 Gapplegate Classical-Modern Music Review Read complete review




Steven A. Kennedy
Cinemusical, November 2015

The performances here are perfectly fine. …This one is certainly worthy of attention for those interested in 20th Century music and the resulting rediscovery of this instrument. © 2015 Cinemusical Read complete review



Bruce Reader
The Classical Reviewer, November 2015

Christopher D Lewis’ technique is very fine with superb precision and articulation. Some may find the impressive sound of the 1930’s Pleyel harpsichord a little strident and powerful but wow is it impressive. © 2015 The Classical Reviewer Read complete review



David Denton
David's Review Corner, October 2015

By the beginning of the 20th century only the last rites was left for the antiquated harpsichord, when along came Wanda Landowska who saved it from extinction. She persuaded the French instrument maker, Pleyel, to build her an instrument that would have the weight of tone required for large modern concert halls that had been built. To traditionalists the result was a travesty of the sound they heard and loved from the harpsichords that had survived, but it was Landowska that was to save the day and restored the instrument to its rightful place in the history of the keyboard. Taking it one step further, she asked composers to write new works to perform on an instrument that it was a child of its time when compared with those produced in the 18th century. Thankfully it encouraged composers to write concertos where the Pleyel could be heard above the orchestral texture. This new release is intended to cover solo harpsichord music of the 20th century, but begins, rather incongruously, with Suite Française, a work written by Poulenc for wind band, percussion and harpsichord, but here played as a solo. In contrast to this series of period dances from the 16th and 17th century, Jean Françaix’s short Deux Pieces, sound rather severe. Bohuslav Martinů’s plethora of scores found room for the potential of this enlarged harpsichord, and brought a number of works, not least the short and delightful Sonata that is replete with his musical fingerprints. Louis Durey’s Dix Inventions were originally written for various instruments, then arranged for piano and, seemingly, also for harpsichord. It uses as its inspiration Bach’s Two-Part Inventions, but sounds the most modern on the disc. Using a 1930’s Pleyel harpsichord, the Welsh-born, Christopher Lewis, is a dependable guide to the pieces in first-class sound. © 2015 David’s Review Corner





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