Press / Endorsements
On this occasion, and rather unusually, [Graham Johnson] does not write the programme notes himself, but that job is very capably taken over by Joanna Wyld, who uses her limited space to talk in lively particularities rather than limp generalisations.
(John Steane, Gramophone Magazine on My Own Country, Felicity Lott—soprano / Graham Johnson—piano, ASV Gold)
… a comprehensive and detailed booklet note from Joanna Wyld…
(Gramophone on Through Life & Love, Louise Alder—soprano / Joseph Middleton—piano, Orchid Classics)
… Joanna Wyld’s excellent booklet note…
(Robert Hugill, Planet Hugill on Through Life & Love, Louise Alder—soprano / Joseph Middleton—piano, Orchid Classics)
… Joanna Wyld’s helpful booklet notes…
(Europadisc on Through Life & Love, Louise Alder—soprano / Joseph Middleton—piano, Orchid Classics)
Joanna Wyld suggests in her excellent notes…
(The Sunday Herald, Scotland on Bach Sonatas & Partitas for Solo Violin, Tamas Fejes—violin, DMV)
I must commend Joanna Wyld’s programme notes – well written, intelligent and informative.
(The Classical Source on Endellion String Quartet at QEH)
Joanna Wyld’s excellent booklet notes…
(Music Web International on French Connection, Duo Ultima, Odradek Records)
… the liner notes (Joanna Wyld) are excellent…
(HRAudio.net on Chopin: Ghosts, Nino Gvetadze—piano, Challenge Records International)
… the booklet notes by Joanna Wyld are a model.
(Charles Timbrell, International Record Review on Debussy Piano Music, Nino Gvetadze—piano, Orchid Classics)
The booklet notes are a credit to the author Joanna Wyld.
(Music Web International on Mendelssohn Piano Trios, Nash Ensemble, Onyx)
Joanna Wyld reports in her first-rate annotations…
(Julian Haylock, International Record Review on Affairs of the Heart, Roman Mints—violin, Quartz)
Accompanied by an illuminating booklet note that captures the essence of Fauré’s A major Sonata as being composed ‘against a backdrop of heartache’…
(The Strad on Callum Smart—violin / Richard Uttley—piano, Orchid Classics)
Accompanied by Joanna Wyld’s concise yet informative booklet notes, this recording is a resounding success.
(musicOMH.com on Mendelssohn Piano Trios, Nash Ensemble, Onyx)
Joanna Wyld’s excellent liner notes, which begin provocatively, “In an odd way, Mozart is underrated,” make a very thoughtful companion to the music.
(Audiophile Audition on Mozart Chamber Works, Ensemble 360, ASV Gold)
… Joanna Wyld writes in her excellent notes … the approving adjectives applied in Joanna Wyld’s notes are fully justified, especially her description of the slow movement as “angelic”.
(Music Web International on Schubert: Trout Quintet, Champs Hill Records—CLASSIC FM CD OF THE WEEK)
… the notes by Joanna Wyld on the composers and the music itself are excellent …
(4barsrest.com on ‘Under the Spell of Spain’, Superbrass)
The excellent note by Joanna Wyld is also translated into French.
(Music Web International on Schubert/Berg/Wolf Lieder, Christianne Stotijn—mezzo soprano / Joseph Breinl—piano, Onyx)
The release has the benefit of helpful booklet notes from Joanna Wyld.
(Music Web International on Dvorák Cello Concerto, Nina Kotova—cello, Philharmonia Orchestra, Sony BMG)
Joanna Wyld’s fine program notes document this “programmatic” element in detail.
(Fanfare Magazine on Brahms’ Piano Quartets 1 & 3, Onyx)
… the booklet … provides very good background information on the composers and pieces featured on this album.
(Music Web International on The Genteel Companion, Richard Harvey, Altus)
The notes are good and have been written by Joanna Wyld.
(Music Web International on Sibelius and Lindberg Violin Concertos, Sony BMG)
The result is a work that often can be quite intense, though as liner note writer Joanna Wyld states, celebrates a joie-de-vivre that is life affirming.
(alllthingsstrings.com on Ittai Shapira, Concierto Latino, Champs Hill Records)
… a piece which unfolds, in note-author Wyld’s words, “in a spirit of exquisite, hypnotic melancholy but, at the work’s conclusion the clouds seem to clear, allowing through a ray of musical sunshine.”
(Fanfare Magazine on Shades & Contrasts, Christina Sandsengen, Odradek Records)
In the booklet Joanna Wyld makes the case for linking both works to Brahms’s tangled relationships with Agathe von Siebold, his first love, and Clara Schumann.
(Music Web International on Brahms String Sextets, Nash Ensemble, Onyx)
Joanna Wyld, in her essay accompanying this recording, stresses the classicism of Beethoven’s concerto: clarity and symmetry are the key words here, and I think she’s correct.
(The Green Man Review on Beethoven’s Violin Concerto in D, Lisa Batiashvili/Georgian Chamber Orchestra, Sony BMG)
… trae interesantes comentarios históricos de Joanna Wyld …
(Mundoclassico.com on Brahms String Sextets, Nash Ensemble, Onyx)
The songs are explained well in the booklet and their respective relationship to Strauss is demonstrated…
(Klassik on Echoes, Claudia & Grégory Moulin, Odradek Records)
This second disc played by the wonderful London Concord Ensemble has notes by Joanna Wyld. She comments on Thuille’s “deft alternation of instrumental roles”.
(Music Web International on Thuille Chamber Works, Champs Hill Records)
Joanna Wyld’s notes string all the beads of Roman Mints’s CD on the title of Marjan Mozetich’s Concerto, Affairs of the Heart. All this music, she claims, evokes deeply-held feelings.
(Fanfare Magazine on Affairs of the Heart, Roman Mints—violin, Quartz)
… excellent programme note.
(Liverpool Echo on RLPO St John Passion at Liverpool Cathedral)
The liner notes are accessible and well suited to anyone encountering this music for the first time.
(James Manheim, All Music Guide on Mozart Chamber Works, Ensemble 360, ASV Gold)
… well written notes.
(American Record Guide on Liszt-Verdi Paraphrases, Odradek Records)
… the Quintet No.2 is described by Joanna Wyld as a “cosmopolitan work”, and so it is …
(Scherzo on Brahms String Quintets, Nash Ensemble, Onyx)
… I could not quite bring myself to dissent from Clara Schumann’s thought, quoted in Joanna Wyld’s programme note, that it “had the impression of a transcribed work” …
(Mark Berry, Boulezian, on Brahms & Messiaen, Pierre-Laurent Aimard & Tamara Stefanovich, St. John’s, Smith Square)
… As Joanna Wyld wisely points out, ‘it takes great skill for variation form to be elevated from a pleasing set of audibly-related segments to a work of real coherence and depth, in which the original idea is not merely varied but also developed and drawn out, its innermost complexities revealed.’
(Merker Online on Variations sérieuses, Lilit Grigoryan, Orchid Classics)
… Joanna Wyld’s programme note tells us plenty about the music…
(Robert Hugill, Planet Hugill, on Richard Allain Choral Music, Choir of Merton College, Oxford, Delphian)
… As Joanna Wyld points out in her programme notes, when Bruckner composed the adagio, he was sad because “The thought had crossed my mind that before long the Master [Wagner] would die”. The coda, which features four “Wagner tubas”, was composed as “funeral music for the master”.
(Quarterly Review on Philharmonia, Royal Festival Hall)
… in wit and prose most [of the shortlisted entries] seem to have flowed from the fingertips of the same inspired author.
(Oxford University Press Judge Deane Root on the 3 entries which won the main prize and runner-up slots of the 2014 spoof Grove article competition, all of them written by Joanna Wyld)
Your notes for Mark Padmore’s recital were excellent.
Magnificent notes. Thank you so much for putting so much into them. I love all the quotes, and your excellent writing really brings the music and composers to life.
(Programme Editor, Royal Liverpool Philharmonic Orchestra on Beethoven 9, orch. Mahler / Mahler Rückert Lieder, RLPO live concert)
This is brilliant. The wonderful quotes make sense of the whole project and you really have understood why I thought it was a good programme in the first place. Your note reeks of quality.
(Tenor Benjamin Hulett on ‘Departures’ CD liner note)
You are a terrific writer, and you set yourself apart from the other sleeve note writers in your own style. You have a lot of substance and profundity in your writing.
(Conductor Yondani Butt)
Joanna Wyld was a joy to work with; she was particularly helpful in finding a balance between what triggered my compositions from a personal perspective and describing them from a compositional point of view, thus connecting the two elements.
(Violinist/composer Ittai Shapira)
(Michael Morpurgo on Joanna Wyld’s note for his Rainbow Bear disc, narr. Joanna Lumley, Hear This!)