“Rowland’s playing tends towards the big-boned and virtuosic. But he can exercise restraint where needed: his sarabandes are subdued and tender, his gigues suitably jaunty...[his] performance of the concluding movement of “The Harmonious Blacksmith” is as fine as any I’ve heard.”
Christopher Broderson - Fanfare
“The standard of playing is very high indeed, with some crisp articulation, appropriately added ornamentation in the repeats and a subtly convincing application of inégalité ... this is a most enjoyable recording.”
John Collins - The Consort
“A welcome addition to the catalogue.. the Divine Art set is offered at a keen price.”
Brian Wilson - MusicWebInternational.com
"Rowland is an evenhanded and intelligent player. His ornaments are always tasteful, but it is his changes of texture that add interest and variety... Lovers of Handel’s music will appreciate Rowland’s commitment to the rich musical world of these suites."
Katz - American Record Guide - November/December 2011
“Performances which are delivered with great relish ... considerable verve and vitality. His clear-sighted and purposeful delivery maintain a strong feeling of cohesion.”
Marc Rochester - International Record Review
“The playing is lively, spirited and devoid of any mechanical delivery that renders so many harpsichord recordings unenjoyable. The segments in the minor modes are given the right touch of sobriety and darker color. The phrasing is always shaped and well manipulated to reinforce the melody and forward momentum of each piece. Rowland’s fluid and well accented fingering never allows the music to settle into repetitive tedium, but instead seems to give repeated lines a slightly different inflection. All very well reproduced in this fine Divine Art recording.”
Jean-Yves Duperron - Classical Music Sentinel
“The instrument...has a lovely upper manual, with a sweet, nasal twang. Rowland’s Soler was robust and unapologetically virtuoso. His Handel is similarly scaled and brightly rendered. Quite florid ornamentation.. more Rococo than improvisatory.”
Phillip Kennicott - Gramophone magazine
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