“Something special happens when musicology comes to vibrant life. Such is the case here: guitarist Roberto Moronn Pérez has released three previous albums concentrating on unknown (or barely known) music from the Segovia Archive. Here, he presents better-known works and, where possible, uses the manuscripts found among Segovia’s papers. … Tansman’s award-winning 1950 Cavatina is no occasional work… Segovia recorded Cavatina along with the final Danza Pomposa, which was added in 1952… I actually prefer Moronn Pérez to Segovia here; the former has more of a sense of flow, a stream of sound that links to the fluid (but much faster) Scherzo that follows. The Baroque figuration is beautifully done against the low pedals by Moronn Pérez. The Barcarole swings slowly, as it should. Moronn Pérez’s sense of rhythm is excellent, allowing once more a sense of directed movement to flourish.
The performance of the Sonata by Casetlnuovo-Tedesco (1933/4) brims with life in Moronn Pérez’s hands. …The work as an entity is a fine one; and Moronn Pérez shows it in its very best light.… It is good to see Hans Haug’s Alba again…and Moronn Pérez gives a wonderfully concise account, presenting the music as is, and effectively so. … Catalan composer Joan Manén (1883-1971) contributes the fascinating, 17-minute Fantasia-Sonata, written in 1929… Moronn Pérez…conveys a sense of a line throughout. A twisty one, for sure, but one that can be followed, as if hypnotized. Finally, the ever-elusive Mompou, the Suite Composelana (1962).… Moronn Pérez takes his time, and it works…
Spanish-born Roberto Moronn Pérez studied in Madrid, Italy, and the UK. He has worked with the Italian publisher Edizione Musicale Bèrben on the edition of The Andrés Segovia Archive. The repertoire here is absolutely grist to his mill, therefore. Few, if any, are more qualified to present this repertoire with such authority, and how he delivers. Recommended enthusiastically.”
—Colin Clarke, Fanfare