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The Diapason (US), May 2017

The music heard on this two-disc album from Naxos provides more than two hours of evocative and individual harpsichord playing. I recommend this set highly and suggest that referencing Wilson’s extensive 15-page online essay (in which he sets form the bases for these performances) will provide all readers a fascinating study of both composer and player. © 2017 The Diapason (US)

Lindsay Kemp
Gramophone, December 2016

All very musicological—an ‘audio version of a printed edition’ as Wilson puts it. Yet Froberger was one of the most humane composers of the 17th century, and it would be a cold player indeed who did not respond to the searching expressiveness not only of his allemande-form meditations and lamentations, but of many other movements as well. Wilson does not fail them. A pupil of Leonhardt (himself a great Froberger player), he seeks a similar ‘delicate balance of freedom and rigour’, resulting in deeply considered interpretations, never hurried or frivolous, but with each note given proper placing and weight. The effect might seem at times to toy with ponderousness, but given full attention it can draw you into the rhetorical moment and hold you there in anticipation of the next. If the gigues are slow compared to a more free-spirited player’s idea of them, Froberger’s writing is certainly strong enough to take it, and different beauties can emerge. And nobody could accuse Wilson’s final track, the wondrous ‘Lamentation for Ferdinand III’, of lacking in free-flowing, wrenching emotion. © 2016 Gramophone Read complete review on Gramophone

Paul-James Dwyer
Toronto Early Music News, December 2016

This is a very accomplish set, Wilson’s affinity for Froberger is clearly evident. This composer is one that demands more than just technique, for the listener to truly appreciate his keyboard works. They can not come to life, properly by a excellent technique alone. Their internal life is one that has to be unlocked, shall we say. Wilson has the key for sure. A great set at a reasonable price. © 2016 Toronto Early Music News

David Denton
David's Review Corner, September 2016

An itinerant musician with a high educational pedigree, Johann Jakob Froberger came into a Stuttgart musical family in 1616, his early student days spent in Vienna. From there, he travelled to Rome to become a pupil of the leading harpsichordist of the day, Girolamo Frescobaldi. It led to a career around Europe as a performer that extended as far west as London, and down to Madrid in the south. At times, it is difficult to track his movements, though he certainly spent much time back in Vienna, eventually becoming part of the entourage of the Duchess Sibylia at Hericourt where he died aged fifty-one. As a composer, he would appear to have been prolific, although it was almost exclusively for the keyboard, and owed much to the style of Frescobaldi with just a hint of the French school of composition that he had encountered on his frequent visits to Paris. Where and when he composed the music contained in the extensive Twenty-three Suites is open to some speculation, the performer on this pair of discs, Glen Wilson, offering them in what he believes was the order of composition. Most are in three parts, the whole suite seldom lasting more than six minutes. I will not elaborate further on their background, as you will learn much from Wilson’s programme notes that specifically relate to his new edition which has now recorded. Suffice it to say that he has taken a fresh look at performing practises, and has added the ornamentation and freedom of tempos that he believes Froberger would have employed. The discs also contain a very sad Lamentation; a sprightly Gigue and a sombre Tombeau. For the uninitiated, can I suggest you start at the second disc, where melodic invention had become more interesting, and then move outwards from there. You might then share my preference for the bright and cheerful sound of the harpsichord used on this disc, in preference to the one used in the early part of the first disc. So far as the performances are concerned, I am a great admirer of the American-born Glen Wilson, his clarity of playing is always a delight, and he never rushes tempos, a on-going problem with many of today’s young performers of Early and Baroque music. © 2016 David’s Review Corner

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