Debussy: Préludes - Book 1: No. 12, Minstrels

"a pianist of ditinction-rhythmic... majestic... dazzling... Rigoletto piece brings to ringing conclusion" (Gramophone)

“He basically alternates tranquil and lively, but slow and dreamy pieces such as Des pas sur la neige or La Fille aux cheveux de lin seem to loom largest — dreamy not meaning ethereal, but a spaciousness and weightiness of sonority new to Debussy, and of which Bolet is the suavest exponent.” Sunday Times, 7th November 2010 ***

“Bolet's deep and velvety touch brings out a more profound mysticism in Debussy's multifaceted visions.” BBC Music Magazine, February 2011 ***

“Here is an exceptional young musician - technically highly accomplished and to whom lyrical, mellifluous playing seems to come as naturally as wit and charm - at long last raising the profile of the orchestra's Cinderella.” Gramophone Magazine, July 2009

“Closely shadowed by pianist Philip Fisher, Geoghegan shows elegance, wit, a gorgeous sound and a bulletproof technique.” The Independent on Sunday, 3rd May 2009

“She’s only 20, but her agility and subtlety are already awesome. Who said the bassoon couldn’t be lyrical? Some of the music has meat, too, such as Dutilleux’s Sarabande et Cortège and the Koechlin Sonata. Philip Fisher’s piano accompaniments are most adroit.” The Times, 4th July 2009

“…a thoughtful and inventive programme, performed with tremendous style. …Geoghegan is a spirited advocate of these gems. Her beautiful account of Jancourt's Nocturne typifies her combination of natural musicality an exquisite tone…” BBC Music Magazine, July 2009 ****

“Here is an exceptional young musician – technically highly accomplished and to whom lyrical, mellifluous playing seems to come as naturally as wit and charm – at long last raising the profile of the orchestra's Cinderella. The instrument's solo literature is comparatively sparse and one supposes that bassoonists are grateful for any morsel (or, in this case, morceau) that comes their way. The problem here is that although many of the works are digitally, respiratorially and musically challenging (several written as test pieces for the Paris Conservatoire), not all of them are terribly good. And there is only so much indistinguishable Gallic caprice one can take at a sitting, as the sequence of Boutry, Gallon, Dutilleux and Bitsch items makes plain.
But there are few enough discs on the market that demonstrate the bassoon's expressive range in such an imaginative programme, the rather distant sound focus of the two instruments notwithstanding.
Geoghegan is one of those naturally gifted artists who can make a persuasive case for pieces like Grovlez's Sicilienne et Allegrogiocoso, Tansman's Sonatine and Pierné's Solo deconcert. The Jancourt and three Debussy titles (transcribed by Bronislav Prorvich) are first recordings, the latter proving surprisingly effective encores.” Gramophone Classical Music Guide, 2010

“The oddities were odd: the out-of-synch hands, the sometimes bemusing understatement. But what artistry and grace… Gorgeous tonal range too (as in Beethoven's Moonlight Sonata) from the ageing master-pianist - surprisingly good sound.” BBC Music Magazine, February 2009 *****

“Despite (and often because of) such old-fashioned devices as the asynchronisation of hands and exaggerated rubato, there is playing of incomparable beauty on these 20 discs; many pianists today could learn much from listening to Paderewski's clarity of line, luminous tone and artful use of the pedals. All in all, much to treasure...” Gramophone Magazine, March 2009

“A choice selection of the Polish master's prolific recorded output Despite (and often because of) such old-fashioned devices as the asynchronisation of hands and exaggerated rubato, there is playing of incomparable beauty on these 20 discs; many pianists today could learn much from listening to Paderewski's clarity of line, luminous tone and artful use of the pedals.
These (mainly) electrical sides were the first to approach capturing successfully the pianist's unique sound (Ward Marston has done the audio restoration here) though the earliest, a 1914 acoustic of Schumann's “Warum?”, is astonishingly successful for its time.
Producer Jonathan Summers has chosen short pieces representative of the more than 70 titles Paderewski recorded in America between 1914 and 1931. The most substantial works are Schubert's B flat Impromptu (9'06”), lyrical and heartfelt, and of the Prelude to Tristan und Isolde (7'38”) arranged by Paderewski's pupil Ernest Schelling. Elsewhere there are the celebrated recordings of the Wagner-Liszt Spinnerlied and one of many of the pianist's own ubiquitous Minuet in G; of particular interest are the two Chopin studies and Rachmaninov titles unpublished on 78rpm, the first (and only) movement of the Moonlight in which bars 34-42 are played with an accelerando and crescendo – an interesting idea – and Rachmaninov's famous Prelude the final page of which is executed with surprising ferocity. All in all, much to treasure.” Gramophone Classical Music Guide, 2010

“The Hallé are resplendent under Mark Elder, with ravishing colours and finely etched detail…” BBC Music Magazine, April 2007 ***

“...further evidence of the Hallé’s renewal under Elder: a performance that glitters with luminous detail, and some really refined playing...Matthews provides a completely re-imagined context for the Preludes, and they’re beautifully played in a recording that allows every new texture to radiate colour and detail.” Andrew McGregor, bbc.co.uk, 4th May 2007