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Intimate yet lyrically flowing and an emotionally charged release of sonatas may make this arguably the finest release for the ECM New Series thus far. […] If ever a one word review were possible or more appropriate then “joy” would be the most fitting for this textured yet intimate offering from John Holloway and the ECM New Series label. Holloway, Gower and Mortensen join together for a stirring release containing flawless performances of at times indescribable beauty.
Brent Black,

These are well crafted, melodically rich works that bring out a virtuoso brilliance that John Holloway handles with dash. The sonatas that include Jane Gower’s dulcian give us two uniquely coloured instruments engaged in jaunty pyrotechniques and moving expressions. […] In the end you get glowing small-group performances of compositions that have the alternating sweetness and fire of the best chamber music of this period.
Greg Applegate Edwards,

It is, therefore a mark of John Holloway’s musical integrity that his gentle and persuasive advocacy for his instrument in this repertoire is so entirely convincing that whilost listening to this disc, one can’t imagine this music any other way.
Catherine Groom, Early Music review

La confrontation des deux grands compositeurs des premières sonates pour violon est une excellente idée: les styles de Castello et de Fontana sont voisins, mais on sent chez le second un intérêt marqué pour les spécificités techniques du violon. John Holloway et ses deux complices ont soigneusement organisé la disposition instrumentale an respectant les pratiques originales: le clevecin n´est pas doublé par une basse d’archet en seize pieds (très grave) comme dans le répertoire ultérieur, ni par un violone qui pourrait masquer certains registres du violon. La duciane (parente du basson) se charge ici d’une partie mélodique autonome qui rivalise an virtuosité et en expressivité avec la celle, très volublie, du violon.
Philippe Ramin, Diapason