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Allen Gimbel
American Record Guide, July 2019

The Polish Suite (1935), for violin and piano, is filled with modal inflections and has a dance as finale. The structures are classical, like everything on this program.

The charming Concerto da Camera for piano, wind instruments, and percussion (1964) is playful and breezy, with touches of neoclassical Stravinsky. Milhaud comes to mind as well.

These seldom heard pieces are worth your time, if you’re looking for unexpected pleasure in music of the period. Performances are excellent. © 2019 American Record Guide Read complete review on American Record Guide



Dominy Clements
MusicWeb International, June 2019

This is a fine programme with good performances and recordings. Simon Laks’ music is of a kind that is not hard to appreciate, and is easy to enjoy without being superficial. His philosophy included a keen desire that “music should not be boring.” You will certainly not be bored by this recording, and Simon Laks is a name of which we should all be aware. © 2019 MusicWeb International Read complete review



Records International, April 2019

The 1932 sonata and 1935 Polish Suite are pre-war pieces while the Ballade (1949) is post-war and the 1964 Concerto comes only three years before Laks ceased composing in 1967. But his wartime experiences didn’t change Laks’ essential style: a bright and sometimes angular neo-classicism of the Parisian scene of the 1920s and 1930s also favored by his Polish compatriot and friend Alexander Tansman. Dominika Glapiak (piano), Błażej Goliński (cello), Robert Kwiatkowski (violin) and 9 other performers. © 2019 Records International





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