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Peter Burwasser
Fanfare, May 2017

…there is little to nothing here that can be called modern. Nothing wrong with that; the music is tautly constructed and pleasantly tuneful. Despite the attempt by the program annotators to cast Kvandal more diversely, this selection of music from across his career paints a picture of a composer whose voice was consistently accented by the folk traditions of his native country. Norwegian pianist Joachim Knoph renders the music with grace and affection. © 2017 Fanfare Read complete review

Sjur Haga Brigeland
Dag og Tid (Norway), March 2017

Joachim Knoph’s interpretation has power and range; he gives us a good picture of Kvandal’s complete oeuvre for his instrument. © 2017 Dag og Tid (Norway)

Burkhard Schäfer
Piano News, March 2017

The Norwegian pianist Joachim Knoph presents Kvandal’s complete works for piano, some in world premiere recordings. He makes it so good that you immediately love the album. …The wonderful sound of the recording contributes a lot to the listening pleasure. © 2017 Piano News

Records International, December 2016

As far as his piano music goes, just think of Kvandal as a 20th-century Grieg: even when the pieces aren’t directly derived from folk music, folk tones are never very far away. © 2016 Records International

David Denton
David's Review Corner, November 2016

The Norwegian composer, Johan Kvandal, wrote works for keyboard almost through his long life, but as a miniaturist in this genre they can be contained on one disc. Born into an intensely artistic family, his father being the composer, David Monrad Johansen, he began compositional studies at the age of eighteen, firstly with Geirr Tveitt and Joseph Marx, though he was already thirty-three when a life-changing two years was spent in Paris studying with Nadia Boulanger. He then embarked on the major part of his career, his works covering almost the entire gambit of composition. By then he had completed a large part of his music for piano, his pieces largely aimed at the amateur pianist and devoid of technical hurdles. Unlike most of his compatriots he never deserted tonality, and in his later works returned to Norwegian folk music as his inspiration. So here we have thirty-three tracks of uncomplicated music that falls very easily on the ear, Joachim Knoph playing with the unadorned simplicity the music requires, few tracks extending much beyond two minutes. The intimate sound quality is well suited. © 2016 David’s Review Corner

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