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“Of the six works recorded here, two are essential for anyone interested in Busoni: the Berceuseélégiaque and the Sarabande und Cortège. Samuel Wong, music director of the Hong Kong Philharmonic, is on this reading a very interesting artist. He takes the Berceuse élégiaque, for example, at a very slow tempo and indeed its pace suggests mournful sighing rather than the rocking of a cradle. The extraordinary end of the piece, string chords with the dark glow of gong strokes, is quite magical, partly because it's so sombrely slow. In the Cortège, also a touch slow, he misses something of Busoni's mercurial quality but imparts a lovely nobility to its string counter-subject.
Every one of the Turandot suite's movements is entertaining, two are Busoni at his most imaginative (the strikingly malign fourth and the sinister seventh) and they're all brilliantly and characterfully played. Wong's intriguing musicality and Naxos's bargain price make this a worthwhile issue.” Gramophone Classical Music Guide, 2010

“a prolific and gifted composer, and it's unaccountable that this is the first CD devoted to him... Viktor Lukas and his consort perform this music with relish” Gramophone Magazine

“With spirited playing from the Nicolaus Esterhazy Sinfonia, this is another valuable addition to the ongoing Naxos survey of the rarer Reaches of the 18th-century symphony.” Classic FM Magazine, February 2000

“In her second volume, including 'Chut, Chut' and 'Lo Fiolairé', Véronique Gens does more than confirm her credentials. The voice is bright, forward, notably clear in diction and lightly responsive to nuance, backed by prominent woodwind and lean strings.” BBC Music Magazine, November 2007 ****

“For her second CD devoted to Joseph Canteloube's vocal music, Véronique Gens has looked beyond the celebrated, much-recorded Chants d'Auvergne, and back to Tryptique, composed in 1913. A setting of three poems by Roger Frêne, its lush, not to say extravagant orchestration anticipates Canteloube's later folksong settings. The first section, "Offrande à l'été" is an ardent love song... The central "Lunaire" has a more mysterious, yearning feel... The finale, "Hymne dans l'aurore" is an ecstatic prayer to Pan, celebrating every wonder of... The final cry, "Mon âme s'ouvre ainsi qu'une aube étincellante! O Pan!" is marked in the score crescendo en grandissant, and Gens, Serge Baudo and the Lille Orchestra rise to the moment with splendid force.” Gramophone Magazine, December 2007

“For her second CD devoted to Joseph Canteloube's vocal music, Véronique Gens has looked beyond the celebrated, much-recorded Chantsd'Auvergne, and back to Tryptique, composed in 1913. Canteloube dedicated this to Maggie Teyte but the First World War interrupted its progress, and it was not until 1923 that Jane Campredon gave the premiere, with the Colonne orchestra conducted by Gabriel Pierné.
A setting of three poems by Roger Frêne, its lush, not to say extravagant orchestration anticipates Canteloube's later folksong settings. The influence of both Ravel and Debussy is obvious, maybe also Stravinsky (it was, after all, the year of The Rite of Spring). The first section, 'Offrande à l'été' is an ardent love song, with some pretty giddy scoring for harps. The central 'Lunaire' has a more mysterious, yearning feel, with a lovely little dissonance at the word 'cendre', as the poet imagines the leaves turning to ash. The finale, 'Hymne dans l'aurore' is an ecstatic prayer to Pan, celebrating every wonder of nature. The final cry, 'Mon âme s'ouvre ainsi qu'une aube étincellante! O Pan!' is marked in the score crescendo en grandissant, and Gens, Serge Baudo and the Lille orchestra rise to the moment with splendid force. It is really surprising that this work has not become better known; any soprano wanting to look beyond the obvious repertory should welcome it.
The rest of the disc is taken up with those remaining Auvergne songs not included on the earlier issue, conducted by Jean-Claude Casadesus.
Once again, Gens proves that an authentic knowledge of the dialect is a great advantage.
The much later group from Chants de France makes a pleasant end to the recital, but it is Tryptique that has to be heard.” Gramophone Classical Music Guide, 2010

"Carpenter knew his craft from top to bottom, and the pieces on this fine new disc reflect his lively, endearing musical mind...John McLaughlin Williams conducts vibrant performances...Why an American orchestra wasn't hired to record this very American music is no mystery (too expensive). The National Symphony Orchestra of Ukraine, nevertheless, responds to the American conductor with playing that blends sensitivity with zest." - Donald Rosenberg, Plain Dealer (Cleveland, Ohio), July 15, 2001

“Early and middle-period Carter at his most accessible and challenging.” BBC Music Magazine, January 2006