Purcell: Ground in C minor, ZD221

“For a singer who began her career in the early 1990s, Joshua sounds astonishingly fresh — Emma Kirkby-like in the purity of her sound, although she brings a wider palette of colour to this kind of music than the veteran early-music diva ever did.” Sunday Times, 25th March 2012

“Purcell is not known as a composer of sacred songs. The 24 here, all scored for a single high voice, come from two volumes published in his later years, which group the work of several composers but are dominated by Purcell’s. Some are less than 30 bars long, others sound almost cantata-like. All are intimate and varied in tone. Whether they were designed to be heard in sequence like this is questionable, but [Rosemary] Joshua brings them vividly to life” Financial Times, 21st April 2012

“The word-painting of the sacred texts — involving angular leaps, florid melismas and a fluid mixture of declamation and gorgeous lyricism — is intense and detailed. Rosemary Joshua does it full justice, yet also seems to float, lithe and graceful, through it all. It’s a masterclass in delicate Baroque singing.” The Times, 19th May 2012 ****

“Joshua brings vocal security and textual intelligence to these works and though a slightly flighty vibrato sometimes threatens the music's intimacy, it does not get in the way of superbly realised greater dramatic truth. The continuo accompaniments are as sensitively accomplished as one would expect from such a line-up...If this is a sober disc, it is also one which reeks of Purcell's genius.” Gramophone Magazine, July 2012

“Rosemary Joshua brings to these accounts all the aplomb of a Baroque diva, with her sharply etched diction, perspicuous dramatic insights and varied vocal timbres...It would be easy for Joshua to steal the show, but the instrumentalists respond to her pliant vocal lines with sensitively articulated continuo playing.” BBC Music Magazine, August 2012 *****

“…Egarr is… brilliant in the G major Suite, introspective in its broody, lowering G minor sibling, and not beyond an utterly charming registrational surprise for the last track.” BBC Music Magazine, October 2008 *****

“While the eight posthumously published suites (with judiciously selected miscellany to create some elbow-room between each) are woefully unknown, they are beautifully crafted. Purcell's keyboard style rarely reverts to French luxuriance, rather more questing in its unpredictable steers, deliberately wrong-footed harmonic inflections, often quite tough textures and extended lyrical journeys.
Richard Egarr's devotion to these pieces comes in the form of studied spaciousness which allows these rich strains to become gently infused into our listening habits. This is no background tafelmusik, which is why it requires our indulgence, to stop and follow the thread – especially in the sustained narrative of the minor-key suites.
If the Almand of the G major Suite offers homage to the exquisite character-piece Almans of Gibbons, the A minor work is prescient of 18th-century models in its directed figuration and the grandiloquence of its easy conflation of French and Italian styles. Indeed, one of Egarr's greatest achievements is to challenge the homespun perception of this repertoire and present it as great keyboard music. The C major Suite is a wonderful demonstration of this, as is the gamey tuning of the D major work with its burly final hornpipe. The harpsichord by Joel Katzman (after Ruckers) covers all the bases with its disarming colour, clarity and resonance. An outstanding recital.” Gramophone Classical Music Guide, 2010

“A thoroughly persuasive case for these neglected masterpieces.” Gramophone Magazine, October 2008

“Paul Agnew's long experience in the realm of French Baroque music makes him particularly sensitive to le goût français, his voice supple enough to realise with exquisite grace the intricate, French-style recitatives and embellishments. In the simpler songs and laments, he croons with the seductive tones of a veritable chanteur de charme. Anne-Marie Lasla, Elizabeth Kenny and Blandine Rannou provide inspired continuo realisations, full of improvisatory flair and theatricality. The rapport between these four musicians lifts the music far beyond the written notes producing a perfect entente cordiale.” BBC Music Magazine, January 2010 *****

“Agnew gets it just right, and the ensemble behind him is flawless. There is the right blend of restraint and subtlety, with emotional guts – try I loved Fair Celia or the heartfelt Solitude with a wonderfully well-judged solo viol...Generally the performances are outstanding – and the idea of breaking up the Purcell songs with instrumental solos inspired.” Katie Greening, bbc.co.uk, 4th November 2009

“…a marvellous anthology of songs by Purcell. …separated by short instrumental pieces by other composers, giving well deserved solo spots to Anne-Marie Lasla and Elizabeth Kenny. If the tone is predominantly sombre, there's relief in "Man is for the woman made", Agnew's cheerful delivery perfectly complemented by a strumming guitar. The Evening Hymn - another ground - ends with a string of "Hallelujahs" that Agnew sings with an appropriate inwardness. ...it's the performances that count: magnificent.” Gramophone Magazine, January 2010

“Hassler's pure tone, delicate decorations, easy phrasing and profound connection to the poetry are complemented by La Rêveuse's ensemble of violins, triple harp, organ, harpsichord and theorbo.” The Independent on Sunday