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James Harrington
American Record Guide, September 2016

Burleson has immersed himself in the entirety of Saint-Saëns output and is a powerful advocate for this music. He plays with all the requisite technique and a style and flair that one would expect from music firmly entrenched in the romantic style. © 2016 American Record Guide Read complete review on American Record Guide

Bryce Morrison
Gramophone, May 2016

Burleson’s performances are able and musicianly…

[His] notes are first-class, he has been well recorded and there is one more volume still to come. © 2016 Gramophone Read complete review on Gramophone

Jonathan Welsh
MusicWeb International, March 2016

Overall, this is a superb disc played by a very talented pianist who is more than able to cope with the Saint-Saëns’ myriad technical details and colours. It will also, I hope, bring Saint-Saëns’ piano music to the wider audience it deserves. I will certainly play this CD frequently. The recorded sound is excellent and I very much look forward to volumes 5 and 6. © 2016 MusicWeb International Read complete review

Stephen Smoliar, February 2016

…Burleson does a wonderful job of honoring the “dance roots” of these selections. …[He] plays as if he believes that there is more substance to what he is playing; and the attentive listener is likely to agree with him. © 2016 Read complete review

David Denton
David's Review Corner, February 2016

The music of Camille Saint-Saens has been described as the ultimate example of the curate’s egg that was ‘good in parts’, and today we hear few of his piano works. He was was probably the greatest child prodigy of the 19th century, making his Paris debut at the Salle Pleyel at the age of ten, and from therein enjoying a career as a brilliant concert pianist. Maybe it was his performances of Baroque music that brought about a desire to revive French music of that era, while at the same time he was much influenced—almost in equal quantity—by Chopin and Mendelssohn. It did rather lead to a hotchpotch of music as this disc demonstrates. Opening with a pseudo-Baroque Gavotte, it moves to three salon pieces in the form of a Mazurka with a Polish slant, the stop-go third one being a particularly attractive score. We go back to times past with the disc’s most extended work, the Menuet et Valse, where you could well imagine a work for harpsichord until we reach the French Impressionist wash of sound that leads to a waltz full of gayety. There follows five more waltzes each with a descriptive title, and opening with a picture of the Canary Isles before a lengthy languorous mood that eventually arrives at a finale of fun. The disc’s jewel is the gently swaying ‘Une Nuit a Lisbon’, its heavily-scented melody lingering long in the memory. Two Souvenirs recall time spent in Italy and Egypt, both having their demanding moments. The American pianist, Geoffrey Burleson, ideally mixes the passages of seductive beauty with those that are very busy, his playing always well detailed. We are now on the fourth volume of the complete solo music and I gather there is more. © 2016 David’s Review Corner

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