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Robert Delcamp
American Record Guide, July 2017

This is pleasant, tuneful, well-crafted music influenced by the Bach-Mendelssohn tradition. The Prelude and Fugue is a substantial piece and contains a fine fugue.

Quinn is Assistant Professor of Organ at Florida State University and is an elegant player who does justice to this music. He plays on a 2000 Baroque-style Paul Fritts organ at Princeton Theological Seminary, which is suited for Czerny’s music. © 2017 American Record Guide Read complete review on American Record Guide



James A. Altena
Fanfare, June 2017

…Iain Quinn delivers top-notch performances on the organ of the Princeton Theological Seminary chapel and is well recorded. …cordially recommended. © 2017 Fanfare Read complete review



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

…well performed by Iain Quinn…

For the organ aficionado and/or those seeking to know more of the compositional side of Czerny this is an offering that will keep your ears busy and provide much of substance. © 2017 Gapplegate Classical-Modern Music Review Read complete review




James Palmer
The Organ, May 2017

This is an astonishingly revelatory record, in terms of the music itself—its inherent artistic qualities, absorption of influences and originalities…

…my comments on this remarkably inexpensive CD are wholly positive: I have found listening to, and studying the music on, this issue to be a most rewarding experience, and I strongly recommend it to any music-lover or practical organist to expand their knowledge of the art. © 2017 The Organ Read complete review



David Denton
David's Review Corner, February 2017

The name of Carl Czerny has today passed down to us as a pupil of Beethoven; the mentor of Liszt, and the founder of a music publisher, but we hear little of his music. As a student, I recall his exercise books but I doubt that I have ever heard a note of his organ music, its neglect highlighted by the need of sponsorship for this disc from ‘the council of Research and Creativity, Florida State University’ to rediscover his works. Czerny was born into a musical family in Vienna in 1791, and had a rather nomadic life that brought him to England in 1838, by which time he had devoted himself to composition, the opus number 698 for the Twenty Short Voluntaries indicating his productivity. Written for the English market, organs in that country undergoing a major change with the emergence of William Hill who created an ‘English’ sound for a new generation of instruments for churches and concert halls. That fact may have had some influence on Czerny’s thoughts, though it is so beholding to Johann Sebastian Bach that much of it could well have been his work. Tackling head on the major problem with these scores, Czerny simply wrote far more than his meagre melodic invention could sustain, and he resided too often in academic creativity of a modest kapellmeister, now and then offering a grand gesture, usually involving the deep pedal notes. For the British-born Iain Quinn, it is an opportunity to bring life to the two groups of very short Voluntaries—often sounding like hymn tunes—and he does succeed against all the odds. He has a very nice Paul Fritts instrument in the Princeton Theological Seminary to help his advocacy. © 2017 David’s Review Corner





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