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Dave Saemann
Fanfare, May 2018

Eduardo Fernández’s performances are richly satisfying. They must have met with the composer’s approval, as he also was the recording sessions’ producer. The CD’s sound engineering is good, more than adequate to reveal the pleasures of these works. Ramón Paús’s music continues to entrance and astonish me. The more you listen to his piano pieces, the richer the experience becomes. © 2018 Fanfare Read complete review

Colin Clarke
Fanfare, May 2018

…the 2014 piece Piano astrolabio includes moments of the purest peace. Fernández’s touch is consistently wonderful in Paús’s invocations of beauty throughout the disc, but nowhere more so than here. The way he highlights delicious turns in the Paús’s harmony indicates a performer in perfect understanding of his text.

An individual and compelling voice, Paús clearly offers music deserving of our undivided attention. © 2018 Fanfare Read complete review

Ruth Prieto
Fanfare, May 2018

Paús, the true alchemist in search of precision and perfection, gets the dose of ingredients just right in his musical concoctions. As he says, “above all I like to know in each place what there is that is good for me.” The result is rich and original music with its own distinctive sound. © 2018 Fanfare Read complete review

Records International, January 2018

Paús has a readily approachable and original style, capable of traversing a wide emotional and dramatic range, with frequent, unpredictable, shifts in both. He uses exclusively tonal harmony, though usually without conventional functional relationships, and he has a fondness for jazz chords and figuration, the product of a parallel career in this field. © 2018 Records International Read complete review

David Denton
David's Review Corner, January 2018

December last year I was enjoying a disc of music by the Spanish-born composer, Ramon Paus, featuring the solo viola. Now we move to four short piano works. All have been composed within the past seven years when he had turned fifty, having already created a sizeable portfolio of scores for the theatre, film and concert hall. His writing brings tonality into the present day, much of this disc evolving at a slow speed, the hues subtle in colours, the rhythms embracing subdued jazz in the Piano al origen (Piano at my roots). That influence rather takes over in the more outgoing Piano en Arles, a work that has inspirational connections with the works of the painter, Vincent van Gogh, his daubed application of paint much akin to the Paus’s music. As I often state, I have an inbuilt dislike of works that you have to read the programme notes to understand. Such is the case with Estudio para uracilo un principe genomico, though to the innocent listener it just continues where Piano al origen left off, and so it will then continue through Piano astrolabio, though with greater activity to enliven the scene. This recording was the world premiere recording and performance of that work when it was placed on disc earlier this year. Any one of these four substantial works would give me considerable listening pleasure, but heard all at one time—which is the lot of record critics—I wanted for more variety in content. They are played by the young and highly regarded Spanish pianist, Eduardo Fernandez, his musical relationship with the composer awarding the disc its benchmark status. Good sound quality. © 2017 David’s Review Corner

Lynn René Bayley
The Art Music Lounge, December 2017

Eduardo Fernández plays this music with a far greater sense of cohesion and, better yet, a sense of phrasing that encompasses a good feeling for jazz swing. …He uses space as a way of elongating phrase lengths and providing respites for the ear.

…this is undoubtedly the best introduction to this composer. I can only hope that other listeners may have the patience and the interest to pick up on what he is doing here and try to understand how unique he is. © 2017 The Art Music Lounge Read complete review

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