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Alex Baran
The WholeNote, September 2015

Having been written for the harpsichord, no dynamics would have been contemplated by the composer, but Fisher introduces them with subtlety and respect. The result is very satisfying. Fisher’s performance is refreshing and his future releases worth following. © 2015 The WholeNote Read complete review

Phil Muse
Audio Video Club of Atlanta, June 2015

Fisher plays these attractive works with brilliance and style, plus a keen awareness of the rhythmic values that are so important in this composer. Playing Handel with the noticeable “swing” and dramatic flair that Fisher brings to the music is very much in keeping with the composer’s intention. © 2015 Audio Video Club of Atlanta Read complete review

David Vernier, April 2015

…Philip Edward Fisher is an especially accomplished interpreter and more than able advocate for pieces that inexplicably don’t get the respect they deserve.

…an hour of easy, happy listening—whether your interest is foreground or background. © 2015 Read complete review

David Denton
David's Review Corner, April 2015

Arriving in London, where he attracted the attention of King George, Handel looked to put roots down in England with keyboard sonatas being used as an introduction. They were eventually collected together in two books each of four sonatas and published in 1720, their popularity such that they were republished several times during his lifetime. Written over a period of time, they show his increasing willingness to move away from the simple formula of four dances, that had become the accepted format of instrumental suites, into something far more complex and substantial. Above all they were blessed with abundant melodic invention, the final movement of the Fifth becoming known as the hugely popular, ‘The Harmonious Blacksmith’. As I commented in the release of the first four sonatas five years ago (8.572197), they would have been intended for his own performance as a highly skilled harpsichordist. That begs the question of whether modern piano versions are a substitute for the composer’s intended instrument. Well if you know how tight the composer would have expected the trills and turns, then here they do sound very different. Trying to imitate that quality is really not an option, and I applaud Philip Edward Fisher for performing them in piano terms. He still invests the music with period awareness, and he avoids the temptation to rush, his quick dances perfectly articulated, while the strands of fugal passages are lucid. The six movements of the Seventh I have particularly enjoyed, the opening Prelude a masterpiece in its own right, with the Allemande of the Eighth sounding ravishing in Fisher’s hands. The two excellently recorded discs I commend to you—but I wonder what Fisher could have achieved on a harpsichord. © 2015 David’s Review Corner

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