There are many, many good things about Andrew Parrott and the Taverner Consort and Players' Bach performances – their luminous colors, complete clarity, utter lucidity, and structural integrity – that there is an uneasy feeling in criticizing them for their occasional flaws. When Parrott's Bach is good, it is as great as any that has been recorded in the past 20 years. It's as great as Leonhardt's, Koopman's, or Herreweghe's, and far better than Gardiner's, Harnoncourt's, or Rilling's. And Parrott's Bach is so great in the great pieces – so great in the overwhelming dramatic intensity of the close of his Saint John Passion and so great in the mystery, agony, and ecstasy of the central choral triptych in his Mass in B minor – that his performances seem very, very great indeed.(James Leonard)
Blandine Verlet, the noted French harpsichordist, studied with Ruggiero Gerlin and Ralph Kirkpatrick. She began recording in the late 1970s for Philips, switching to the Astree label in the 1990s. Her recordings range from J.S. Bach's keyboard works to Froberger to lesser known composers such as Louis Couperin and Elisabeth-Claude Jacquet de la Guerre. This, her second recording of the Goldbergs, has been called "one of the finest harpsichord versions in the catalogue.
Tasmin Little's 2013 release on Chandos is an exploration of lush and lyrical music for violin and orchestra, composed by the leading British composers of the early 20th century, and it is an album of remarkable depth and beauty. Opening the program is the Concerto for violin & orchestra by E.J. Moeran, which sets the mood for the disc with its long-breathed, melancholy lines and pastoral atmosphere. While this is a technically challenging work that shows Little to her best advantage as a virtuoso, listeners may come away from the piece recalling its sweet ambience more than its flashiness. The same could also be said for Frederick Delius' Légende, Gustav Holst's A Song of the Night, and Ralph Vaughan Williams' The Lark Ascending, all three of which provide tests for the violinist's skills, yet are filled with such gorgeous music that listeners may only remember the general opulence of the scores. Also included are premiere recordings of Roger Turner's arrangements of Edward Elgar's Chanson de matin, Chanson de nuit, and Salut d'amour, which in orchestration, mood, and style fit the rest of the album nicely.