Wild Men of the Baroque - Reviews
‘A rare treat to have an action-packed recital recording……..[with] thrills…….reflective, lyrical works …..all manner of technical devilry with superhuman virtuosity, a laughing recklessness and style you can’t buy……exquisitely rendered by Adams and Wright…’ Gramophone
‘…a showcase for Adams’ lightning-quick, virtuosic style…….. [and] carefree suavity of Wright’s harpsichord solos’
Early Music Today
Piers Adams’s bravura playing is what immediately strikes the ear, with his use of a range of modern (and loud) recorders, but it would be a mistake to ignore David Wright’s wonderfully varied accompaniment which helps to create every change of mood and achieves a remarkable range of dynamics.
Early Music Review
The improvisatory meanderings which commence the opening item, Heinrich Biber’s Sonata No.3, are instantly hypnotic: Adams and Wright wander from ethereal reflectiveness to rhythmically ebullient dance-like interjections, and intersperse exuberant explosions of incessantly repeating melodic fragments.
The virtuosity is simply astonishing – almost implausible. In the recorder’s crazily precipitous flights of fancy, every note is articulated cleanly and purely, no matter how many such notes there seem to be in a single second. The triple and quadruple tonguing, and the multiple tones, produce the incredulity that one feels after witnessing a conjuror’s sleight-of-hand: have our ears deceived us?
The riches of this disc are multifarious: musical, technical, interpretative and expressive.
MusicWeb International
‘…a showcase for Adams’ lightning-quick, virtuosic style…….. [and] carefree suavity of Wright’s harpsichord solos’
Early Music Today
Piers Adams’s bravura playing is what immediately strikes the ear, with his use of a range of modern (and loud) recorders, but it would be a mistake to ignore David Wright’s wonderfully varied accompaniment which helps to create every change of mood and achieves a remarkable range of dynamics.
Early Music Review
The improvisatory meanderings which commence the opening item, Heinrich Biber’s Sonata No.3, are instantly hypnotic: Adams and Wright wander from ethereal reflectiveness to rhythmically ebullient dance-like interjections, and intersperse exuberant explosions of incessantly repeating melodic fragments.
The virtuosity is simply astonishing – almost implausible. In the recorder’s crazily precipitous flights of fancy, every note is articulated cleanly and purely, no matter how many such notes there seem to be in a single second. The triple and quadruple tonguing, and the multiple tones, produce the incredulity that one feels after witnessing a conjuror’s sleight-of-hand: have our ears deceived us?
The riches of this disc are multifarious: musical, technical, interpretative and expressive.
MusicWeb International
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