"... it is a heartening experience to be able to recommend these accounts unreservedly. Goode’s intellectual grasp of these major works (each plays for more than half-an-hour) is deeply impressive, and such is the power of his playing that the listener’s attention is held throughout. The recording quality, also, is particularly fine - clear and excellently ’placed’ wihtin the acoustic ..."
Robert Matthew-Walker - The Organ magazine - Autumn 2013
"... Goode, has a natural instinct for this music and one is effortlessly navigated through all the technical challenges presented ..."
Rupert Gough - Choir & Organ magazine - July/August 2013
"Even by Max Reger’s standards, the works that fill the first of this pair of discs are massive: at 35 and 31 minutes respectively, they are his two most substantial organ works. The Introduction, Variations and Fugue on an Original Theme Op 73, composed in 1903, is couched in the dense, chromatic style typical of Reger’s maturity and dominated by the huge central set of variations, which is followed by a relatively modest concluding fugue. In the Introduction, Passacaglia and Fugue in E minor Op 127, from 10 years later, the weight is again the central section, a passacaglia with 26 variations. In this case it is balanced by a hefty double fugue, while the textures have a clarity and, in David Goode’s performance on the organ of Symphony Hall, Birmingham, a greater crispness, that really do suggest more transparency in Reger’s later style. By contrast, the Five Easy Preludes and Fugues on the second disc seem much more straightforward and lighter in tone; Goode certainly makes them sparkle in a way that belies the composer’s dour image."
Andrew Clements - The Guardian - April 2013
"Reger’s best-known works are those for organ, and are based on Bachian forms, methods and gestures. Goode, playing the organ at Symphony Hall, Birmingham, essays Reger’s two most ambitious organ pieces, Variations and Fugue on an Original Theme, Op 73, and Introduction, Passacaglia and Fugue in E minor, Op 127, alongside the Five Easy Preludes and Fugues, Op 56. The larger works are impressive but remote, whereas the concentration necessary in the shorter works lends them, paradoxically, a feeling of greater substance."
Stephen Pettitt - The Times on Sunday - May 2013
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