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2009 Cameo Records CAMEO2088
REVIEWS
“Clavichordist Julian Perkins plays a Karin Richter
instrument of 1998
after C. G. Hubert (1771), lent by Judith Wardman, which seems ideally
suited to this music. Listeners will be struck by its sonorous, warm
yet clear tone which enhances the music’s cantabile characteristics
whilst bringing vibrancy to an array of rhythmic twists and turns.
Julian Perkins’s performances of both Suites are characterized by an
impressive attention to detail, and he succeeds in squeezing much
musical juice from these succulent pieces. Using a wide range of
different touches with infinite finger control, he brings a
kaleidoscope of sonorities to the listener’s ear.
"Suite No. 1 unfolds
with a prelude-style movement, and here Julian Perkins captures an
appropriately improvisatory feel, with a finely judged sense of rubato,
and he makes effective use of Bebung
on some of the longer left-hand
notes. A reflective, thoughtful First
Air displays a lovely, delicate touch, which continues in the
rather plangent Plaint. In
contrast, the livelier Pantomime and
Greater Fanfare
feature crisper rhythms, and I particularly enjoyed the
sense of urgency in the frolicsome Tambourin.
A subdued Last Fanfare makes
a poignant end to this suite. Harmonically and rhythmically more
adventurous, Suite No. 2
opens with proud dotted rhythms, recalling the baroque French overture,
and is played here with commanding authority. Rhythmic vitality and
invention continues in two Fanfares,
with the febbroso (feverishly)
instruction of the second playfully
captured. Sandwiched between them are soulful melodic threads of A Dream, transporting the listener
momentarily into a calmer world.”
- The British
Clavichord Society Newsletter, No. 45, October 2009
“The composer is named as co-producer of this disc, so we can be sure
that the excellent recorded sound met his requirements. He will surely
have been happy with the performances too, as they seem quite beyond
criticism. ...remarkable keyboard players… The booklet notes are
excellent. In brief, anyone interested in music of the utmost
integrity, always very individual and often very beautiful, should not
hesitate.”
- MusicWeb
International, November 2009
“Apart from
Herbert Howells, how many other composers in recent years have written
music for this quiet and unassuming instrument? Dodgson’s First Suite,
composed in 1967 and revised in 2006, is dedicated to his
fellow-composer Elizabeth Maconchy. There are eight short movements,
three of which are described as Fanfares.
The writing is spare and
seemingly undemanding but the effect is delightful. The Second Suite
was composed in 1969 and was also revised in 2006. This one is
dedicated to the harpsichordist Valda Aveling, and is more demanding,
both musically and in its technical requirements. Each of the six
movements has a title that might have been found in a collection of
early keyboard music and again there are two Fanfares. The effect
overall is charming and completely satisfying and Julian Perkins gives
performances that reach to the heart of the music.”
- International
Record Review, December 2009
"Skilled and lovingly nuanced performances by Julian Perkins are played
on a 1998 clavichord by Karin Richter..."
-
Clavichord International, Volume
14, Number 1, May 2010
Click here
for reviews of Ingenious Jestings:
Eight Harpsichord Setts by James Nares
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