‘The Salomon's observant, sympathetic readings, beautifully recorded, make a highly persuasive case for works that, the 'Lark' apart, are still far too little heard’ (Gramophone)
‘The Salomon's observant, sympathetic readings, beautifully recorded, make a highly persuasive case for works that, the 'Lark' apart, are still far too little heard’ (Gramophone)
‘A thoroughly enjoyable disc … Adelina Oprean plays with flair and style, adding her own cadenzas (quite tastefully) and holding her own against competition from a number of better-known violinists. The European Union Chamber Orchestra plays very well for her, and the recorded sound is excellent’ (American Record Guide)
‘As these meticulous performances demonstrate, Head was acutely sensitive to words. There are settings of Masefield and Yeats, Hardy, Joyce and Christina Rossetti here, and in every song each phrase is perfectly balanced, its accompaniment supremely tactful’ (The Guardian)
‘Head, a long-neglected member of the first world war generation of English composers, is coming back to favour, and this collection of 27 songs, deftly accompanied by Christopher Glynn, will do his reputation nothing but good … Head makes sure England's fields are forever green, even when the mood is tinged with sadness’ (Financial Times)
‘Head created the most inventive and sympathetic writing for voice and piano, in asymmetrical, free-flowing, artful settings of poets such as Walter De La Mare, John Masefield and Christina Rossetti … their expressive power is enhanced by the presence of the pianist Christopher Glynn and three particularly word-sensitive singers … a revelation’ (BBC Music Magazine)
‘Piers Lane plays Henselt with the exceptional tact that marks his previous endeavours. There's no lack of acrobatic thrill; but even in the most bravura numbers, he manages to draw out the musical substance as well. His ability to separate lines—to coax the melodic core from all the ornamentation and elaboration—is especially welcome in some of the potentially heavy-breathing etudes here, works that can readily turn to clatter in less dexterous hands. Add to this Davis's scrupulous notes and Hyperion's unimpeachable sound, and you have a strong release. Warmly recommended’ (Fanfare, USA)
‘As in his recent CD of Moscheles for the same label, Lane has all the executive answers to these constantly—and sometimes extravangantly—demanding pieces, thoroughly characterising every idea, pianistic or musical’ (International Piano)
