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James A. Altena
Fanfare, June 2017

It is precisely the lightness of character that Quinn so ably brings out; eschewing any backward glances towards profundity, the movements spring forth and nimbly dance with airy grace. …heartily recommended. © 2017 Fanfare Read complete review



Marc Rochester
MusicWeb International, May 2017

If the music was designed to impress, then Iain Quinn’s effervescent performances do just that. He indulges in much hopping between the instrument’s two manuals, exploiting the delights of this 2000 Paul Fritts organ, and choses registrations from the 28 manual stops which sparkle, captivate and generally are a sheer delight on the ear, and all are captured in a bright, clean, unpretentious recording. Crisply articulated fingerwork and a welcome lack of nuance—even down to a habit of abruptly ending movements without so much as an implied rallentando—create a pleasingly buoyant sound. © 2017 MusicWeb International Read complete review



Malcolm Riley
Gramophone, March 2017

Working from the new CPE Bach Critical Edition, Iain Quinn thoroughly explores the possibilities of the 28 manual ranks of the two-manual Paul Fritts instrument of the Theological Seminary in Princeton. His light, clean touch coupled with an energetic panache will surely win over many new adherents to this little-known repertory. © 2017 Gramophone Read complete review on Gramophone



Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, January 2017

Iain Quinn gives us performances that do full justice to the music’s fine architecture and lyricism.

Worth every penny at the Naxos price and a significant addition to your library. © 2017 Gapplegate Classical-Modern Music Review Read complete review



David Denton
David's Review Corner, December 2016

Carl Philipp Emanuel, Johann Sebastian Bach’s second eldest son, did not follow in his father’s footsteps as being a highly prolific composer of music for the organ. Most of his keyboard sonatas, around a hundred and fifty, were for the clavichord or harpsichord, instruments that were to provide much of his employment, the present disc containing most of the major scores in the genre. Those known as H.84 – 87 were composed for Princess Anna Amalia of Prussia, though she obviously did not think highly of them, as only one found its way into her vast library of music. All were written, together with H 134 & 135, in the composer’s maturity, and followed the time-honoured three-movement format with two fast movements surrounding one in a slow and quiet mode. Though he claimed he had lost touch with performing on the organ, his father’s teaching obviously left him well versed on the modus operandi of exploring the sonorities of the instrument. He was also a ready provider of interesting thematic material, though he never indulged himself in his father’s grand gestures, his range of colours somewhat more muted. They are here played by the British-born, Iain Quinn, an organist who has spent much of his life in the United States, the present disc performed on the recently built Paul Fritts organ in the Princeton Theological Seminary, New Jersey. It seems ideal for Baroque music without the wheezes associated with period instruments, yet, while the instrument’s specification is included in the booklet, it is remiss of Naxos not to give the layman a general description of its place in the organ fraternity. Tempos are certainly unhurried, the playing is neat, and with a good sense of period style, though the Princess’s feelings towards the music show an erudite evaluator. © 2016 David’s Review Corner



Lynn René Bayley
The Art Music Lounge, November 2016

Here is the wildly inventive, musically daring Bach of the Hamburg years in full bloom at an earlier period of time. These sonatas are simply astonishing: flamboyant and flashy, harmonically advanced, using a wide variety of stops for color and his now-familiar style of disguising the melodic line in ornamentation and unusual shifts of rhythm.

The Princess Royal must have been quite a spectacular organist in her own right, because these are NOT easy pieces to play, and it is to Iain Quinn’s credit that he plays them with relish and enthusiasm. He obviously loves these sonatas as much as I did hearing them.

I can’t say enough about this album. It is absolutely one of the most fun discs of organ music you are likely to hear, particularly from this period of music history. © 2016 The Art Music Lounge Read complete review





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