"...this performance is so much like the one I imagine as my ideal that I find it uncanny. Neither too demonstrative nor too subtle, black and Hazelrigg are faultless in phrasing, articulation, ornamentation, and sentiment. I love the relentless drive of Contrapunctus 11 and the ruminative canon at the 12th. The close aural perspective of the engineering makes me feel as if I'm ina very small room listening as they perform, and that's a very touching way to hear the Art of the Fugue."
(American Recording Guide, January/February 2010)
"The two harpsichords, modern German-style instruments, are sonically separated...but they’re not so distant from each other that an emptiness yawns between them. The first impression is that the music doesn’t sound as dour as it usually does on organ or strings. Over the course of this cycle the performers deploy some imaginative sonic effects , but without becoming distracting. The lines are always clear, but what’s most appealing about the playing is the way a dance rhythm like a Scotch snap can be played up without noticeably pressing the already sprightly tempo forward. Through the six and a half minutes of the final fugue, the musicians convey a patient grandeur, which makes the work’s sudden silence all the more disturbing. Black and Hazelrigg’s harpsichords prove to be fully effective and engaging conduits of Bach’s music."
(Fanfare Magazine, January 2010)
The full article and review can be found here