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Phil Muse
Audio Video Club of Atlanta, December 2017

Taken as a set, this is the best account I have heard to date of the English Suites. As opposed to Bach’s later Partitas, BWV 825-830, these suites seem more suitable to performance on the harpsichord than on a modern piano, a fact that makes the present recordings all the more recommendable. © 2017 Audio Video Club of Atlanta Read complete review



Bradley Lehman
American Record Guide, November 2017

Artifoni uses her harpsichord’s 4-foot stop often. That registration makes it sound aggressive, but her phrasing has a roundness that mitigates some of that effect. Everything is well in tune.

She inserts a very long cadenza into the concerto-like opening movement of Suite 2. This is the start of the set (sequenced 2, 1, 5, 3, 4, 6). It notifies the listener that the whole performance will be filled with imaginative experiments. She plays all repeats, and her ornamentation is lavish—that’s the distinguishing feature of this performance. © 2017 American Record Guide Read complete review on American Record Guide



Harriet Smith
Gramophone, October 2017

…the most obviously ‘authentic’ is Alessandra Artifoni’s account of the English Suites on harpsichord, a modern-day copy by Tony Chinnery of a two-manual Mietke from 1702. It’s a fine, characterful instrument, recorded with immediacy. The booklet is lazy… But the playing is certainly not and she relishes the different character of each suite without resorting to extremes. The Second Suite, with which she opens, has a lovely conversational Allemande and an unfettered Gigue. The E minor Suite (No 5) opens with a joyously full-sounding Prelude; and if her Sarabande is a little ponderous, the two Passepieds that follow are well contrasted. The Sixth Suite is a highlight, from the grandeur of its Prelude via the experimentalism of the Sarabande’s harmonies to a Gigue in which she patently relishes Bach’s wayward harmonies and buzzy trills. © 2017 Gramophone Read complete review on Gramophone





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