“…a thoughtful and inventive programme, performed with tremendous style. …Geoghegan is a spirited advocate of these gems. Her beautiful account of Jancourt's Nocturne typifies her combination of natural musicality an exquisite tone…” --BBC Music Magazine, July 2009 ****
“Here is an exceptional young musician - technically highly accomplished and to whom lyrical, mellifluous playing seems to come as naturally as wit and charm - at long last raising the profile of the orchestra's Cinderella.” --Gramophone Magazine, July 2009
“Here is an exceptional young musician - technically highly accomplished and to whom lyrical, mellifluous playing seems to come as naturally as wit and charm - at long last raising the profile of the orchestra's Cinderella.” --Gramophone Magazine, July 2009
“Here is an exceptional young musician – technically highly accomplished and to whom lyrical, mellifluous playing seems to come as naturally as wit and charm – at long last raising the profile of the orchestra's Cinderella. The instrument's solo literature is comparatively sparse and one supposes that bassoonists are grateful for any morsel (or, in this case, morceau) that comes their way.
The problem here is that although many of the works are digitally, respiratorially and musically challenging (several written as test pieces for the Paris Conservatoire), not all of them are terribly good. And there is only so much indistinguishable Gallic caprice one can take at a sitting, as the sequence of Boutry, Gallon, Dutilleux and Bitsch items makes plain.
But there are few enough discs on the market that demonstrate the bassoon's expressive range in such an imaginative programme, the rather distant sound focus of the two instruments notwithstanding.
Geoghegan is one of those naturally gifted artists who can make a persuasive case for pieces like Grovlez's Sicilienne et Allegrogiocoso, Tansman's Sonatine and Pierné's Solo deconcert. The Jancourt and three Debussy titles (transcribed by Bronislav Prorvich) are first recordings, the latter proving surprisingly effective encores.” --Gramophone Classical Music Guide, 2010
The problem here is that although many of the works are digitally, respiratorially and musically challenging (several written as test pieces for the Paris Conservatoire), not all of them are terribly good. And there is only so much indistinguishable Gallic caprice one can take at a sitting, as the sequence of Boutry, Gallon, Dutilleux and Bitsch items makes plain.
But there are few enough discs on the market that demonstrate the bassoon's expressive range in such an imaginative programme, the rather distant sound focus of the two instruments notwithstanding.
Geoghegan is one of those naturally gifted artists who can make a persuasive case for pieces like Grovlez's Sicilienne et Allegrogiocoso, Tansman's Sonatine and Pierné's Solo deconcert. The Jancourt and three Debussy titles (transcribed by Bronislav Prorvich) are first recordings, the latter proving surprisingly effective encores.” --Gramophone Classical Music Guide, 2010
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