Related Reviews
MusicWeb International
'To sum up, this is as fine a single CD selection of Byrd’s keyboard music as you will find anywhere...inventive, spicy and interesting.'
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American Record Guide
'This performance should challenge anyone’s preconceptions about the limits of a harpsichord’s evocative powers. It just takes a player with this level of imagination.'
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MusicWeb International
'Richard Egarr’s new release of Byrde’s keyboard music is especially welcome.'
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BBC Music Magazine
4 Stars
'Richard Egarr explores with affection and intelligence the rich world of Byrd's keyboard music, on a modern copy of a Ruckers harpsichord. Bells is a real gem.'
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Gramophone
Choice: 'An outstanding celebration of Byrd as one of the first keyboard greats from a harpsichord player who holds the greatest love and respect for the composer’s music in all its forms.'
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Early Music Review
'These are given performances whose lyricism belies the stark titles...The conclusion of BK 9 is quite exquisite in Egarr’s hands.'
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Res Musica
'Le génie contrapuntique de Byrd est particulièrement mis en évidence dans la grande pièce sur Ut, ré, mi, fa, sol, la, où l’hexacorde ascendant sert de prétexte à une véritable gymnastique mentale en dix-sept variations.'
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BBC Radio Scotland 'Classics Unwrapped'
Album of the Week: 'His playing and the music is infectious and he loses none of that in this recording. He enjoys, even relishes the rich embellishments that are abound in Byrd’s music.'
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Politiken
5/6: '...he has an understanding of what makes the music of one of the great European renaissance composers come to life.'
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All Music
4½ Stars
'...a vivid portrait of perhaps the most original and influential keyboard composer before Johann Sebastian Bach.'
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Richard Egarr - One Byrde in Hande - The Sunday Times


10 June 2018
The Sunday Times
Stephen Pettitt

Some might think Byrd’s keyboard music to be all stately Elizabethan pavanes and galliards. Not so, and while in this charismatic recital Egarr includes those and other smaller-scale pieces, he gives pride of place to the larger free-form fantasias, the grounds, the variations (on Ut, re, mi, fa, sol, la and on Ut, mi, re) and, to close, the evocative masterpiece The Bells. It’s breathtakingly inventive music, and played accordingly.
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