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

[This] is music that everyone should have, in my opinion one of those desert island essentials. If I were dying and still aware of my surroundings, I might ask someone to put it on.

This is a true-to-period baroque rendition, as one might expect, with ornamentation where you might expect it and the full flourish of the harpsichord on display.

It is a set to relish, the uncanny Bach music realized in full modern sound. © 2017 Gapplegate Classical-Modern Music Review Read complete review

Paul Riley
BBC Music Magazine, March 2017

Jory Vinikour…joins a rich stable of fellow harpsichordists including Christophe Rousset, Andreas Staier and Ton Koopman. His instrument couldn’t be more apposite: a copy of a single manual harpsichord built in Hannover some six years after the Partitas were published in 1731, but upscaled to two keyboards. He takes full advantage of its range of colours to vary repeats (adding discreet extra embellishments) but his playing is always about the music and never self-advertising—indeed his sobriety and no-nonsense directness recalls his sometime teacher Huguette Dreyfus. © 2017 BBC Music Magazine

William J Gatens
American Record Guide, March 2017

Jory Vinikour has technique sufficient to play these pieces beautifully.

The sound is first-rate, and the two-manual instrument by Thomas and Barbara Wolf (modeled after a single-manual Vater) is perfect for the job. © 2017 American Record Guide Read complete review on American Record Guide

Patrick Rucker
Gramophone, March 2017

Bach the inexhaustible. What we know about his music, from musicologists such as Christoph Wolff and Michael Marissen, has been supplemented in recent years by the insights of performers, John Eliot Gardner and John Butt among them, and by topical assessments by critics such as Alex Ross. But when this richness of specialist and contextual information threatens surfeit, it’s good to return to the music itself, just the notes, as they say.

That is precisely what this new release of the six solo keyboard Partitas by the Chicago-born harpsichordist Jory Vinikour provides. These are straightforward, uncluttered, direct performances that, if far from any stylistic cutting edge, deliver the notes earnestly and sincerely. As such, they fulfil their intent of providing a memorial to the late Huguette Dreyfus, Vinikour’s teacher. He plays a beautiful double-manual German-style harpsichord by Thomas and Barbara Wolf, deftly captured by Sono Luminus. © 2017 Gramophone Read complete review on Gramophone

Stuart Sillitoe
MusicWeb International, February 2017

In my review of the reissue of Huguette Dreyfus’ excellent recording, …I described her performances as among “the finest I have heard”. This is something that I reiterate, in comparison to this new recording. Jory Vinikour’s readings of the middle Partitas are particularly compelling, which is something he has in common with Dreyfus… © 2017 MusicWeb International Read complete review

Hank Zauderer
My Classical Notes, January 2017

The six partitas for harpsichord by Johann Sebastian Bach are among the greatest and most inspired works of all keyboard literature. Although they are the first works that Bach decided to publish, they represent the composer’s genius at the height of his maturity, matched only by the Goldberg Variations.

Bach shows himself to be playful, profound, meditative, theatrical, virtuoso—and always the greatest composer of counterpoint of all time. © 2017 My Classical Notes Read complete review

Joseph Newsome
Voix des Arts, December 2016

Were Bach an unknown composer whose Partitas were discovered in a moldy library, Jory Vinikour’s performance of them would convince the skeptical listener that their creator was surely an unheralded genius. He now needs no advocacy, but a performance like this one, a performance in which the Partitas sound newly discovered, reaffirms that Bach was a genius both of his own age and for all time. © 2016 Voix des Arts Read complete review, December 2016

Jory Vinikour’s robust, bouncy handling of Bach’s Six Partitas for Harpsichord for Sono Luminus is thoroughly unexpected and convincing from the start. Vinikour looks above all to the fact that these works are made up of dance movements, and if the dances are often idealized—along the lines of those in Beethoven’s Seventh Symphony, if not to the same extent—that does not stop them from having rhythmic clarity and a certain regularity of beat underlying their contrapuntal complexity. Vinikour’s tempos are well-chosen, his overall approach dramatic and theatrical, his expressive language well-attuned to the works’ colors—and he is unafraid to make these pieces playful as well as profound. © 2016 Read complete review

Jed Distler, November 2016

[Vinikour] never plays faster than one can dance or sing, as the gently ebullient Gigue finales demonstrate, while being quite generous with ornaments and embellishments on the repeats.

Vinikour’s absorption in and commitment to these scores proves further evident in his booklet notes, which are highly informative and vividly expressed. …Vinikour’s Partitas add up to a serious and major achievement by a serious and major artist. © 2016 Read complete review

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