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William Kreindler
MusicWeb International, January 2014

One of the major discoveries of this set is the Serenade Op 45. Though seemingly slight, the five pieces of this suite show the composer at his most genial and even endearing.

…Kirsten Johnson…shows special sensitivity to the composer’s brand of restrained emotion—moderately expressing the underlying feeling as the composer himself would have wanted. Ms Johnson has a bright tone which is ideal for Foote’s out-of-doors works and enough sense of fantasy for Omar Khayyam…Ms Johnson’s discs are highly to be commended both for bringing us some wonderful music and as another milestone in the rediscovery of America’s early musical heritage. © 2014 MusicWeb International Read complete review

Laurence Vittes
Gramophone, January 2014

Foote has a worthy champion in Kirsten Johnson, whose lovely sound and exquisite phrasing allow her to quickly locate the lyrical heart of a melody and invest it with pure streams of colour…

Lindsay Koob’s detailed booklet-notes make an enthusiastic case for getting to know Foote and his piano music. © 2014 Gramophone Read complete review on Gramophone

Sang Woo Kang
American Record Guide, January 2014

The music is tonally conservative and romantic, well crafted and accessible, and Johnson engages these works with eloquence and expression. © 2014 American Record Guide Read complete review on American Record Guide

Lynn René Bayley
Fanfare, January 2014

It’s not often that you audition a recording where the artist is far greater than the composer, but that is exactly the case with this massive set of the complete piano music of Arthur Foote…

…there is the remarkable playing of Kirsten Johnson. This is, quite obviously, an outstanding pianist who approaches everything as pure music and gives her all. There is not a single piece in this 3-CD set that she does not play well, bind the phrases, impart at least a bit of energy or drama, or bring out detail. © 2014 Fanfare Read complete review

Jed Distler, October 2013

Where has this delightful, well-crafted, thoroughly idiomatic, tuneful (though harmonically conservative), and unpretentious piano music been for the past century? Listen to any piece at random, blindfolded, and you’ll agree, although you’ll be hard-pressed to identify the composer.

Because most of these works have been out of print for decades, pianist and longtime keyboard rarity advocate Kirsten Johnson had to do considerable detective work in order to obtain the scores. More importantly, she appears to have put in comparable practice hours, borne out by her consistently sonorous virtuosity and tasteful musicianship, abetted by a first-rate Steinway grand and an appropriately resonant yet never muddy recording venue. A major addition to the catalog. © 2013 Read complete review

Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, September 2013

Kirsten Johnson renders the works with sympathy and poetic attentiveness.

And as the program unfolded, I found myself responding increasingly to the music. The first works are firmly within a romantic Beethoven-Schumann-Chopinesque tradition. And there are works that sound like pedagogic etudes, studies in arpeggiation and such. But as he progresses there is more and more originality and an expanded sensibility that encompasses some of the impressionist openness.

Listen and you’ll be taken on a most pleasant journey. © 2013 Gapplegate Classical-Modern Music Review Read complete review

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