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Bradley Lehman
American Record Guide, November 2017

This is Ekaterina Likhina’s debut recording. She recently completed studies with Glen Wilson, who produced the album. On the evidence of this recording she is fantastic. She makes every rhythm and melody sound inevitable, perfectly polished, and worth paying attention to. The music itself is witty and variegated. © 2017 American Record Guide Read complete review on American Record Guide

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

There is much excellent music to absorb. The complexities and inventive detail in these works demand multiple and unsuperficial hearings to grasp fully. It is worth the trouble, since in the end there is a great deal to like! © 2017 Gapplegate Classical-Modern Music Review Read complete review

David Denton
David's Review Corner, June 2017

Stephen Dodgson was born in London in 1924, and was known as a prolific composer and broadcaster whose music did not seek out popular adulation. He worked in every genre, from opera to a sizeable quantity of chamber and instrumental music, though today, his name will be largely found in guitar recitals. Stylistically he followed in the mode of tonality, though he did have his moments of cutting-edge modernity, a trait that only confused audiences as to where he belonged and what to expect. It was the eminent harpsichord builder, Thomas Geoff, who sparked his interest in the Baroque era and music for the instrument, the booklet notes claiming he was twenty-one when the first set of Inventions appeared, though I had always understood he was thirty-one, and from therein his works with that name spanned almost thirty-five years. It is important we know those dates as they signpost changes in his style, the first set having echoes of Stravinsky’s neoclassical era; the second set from 1961 pointing to his growing interest in guitar works, while the Third, completed nine years later, marked his growing knowledge of period harpsichords. Finally the Fourth, composed for his wife, the harpsichordist, Jane Clark, seems to be a summary of all four sets with some whimsical material mixed with relaxed joy and a move to atonality. The soloist is the young Russian, Ekaterina Likhina, who worked on this recording project with his widow, and is a very nimble-fingered performer. In the disc’s booklet the producer, Glen Wilson, gives a long discourse on the harpsichord used, and why it was chosen, but then forgets to tell us what it is. © 2017 David’s Review Corner

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