Less dramatic [than Kit Armstrong's 2021 album] but more even-tempered and sometimes even delightfully sentimental, Momen’s approach is different but no less satisfying. I admired Armstrong’s freedom and flirtation with anachronism, but I find this album exerts a stronger emotional appeal.

Rushdie Momen achieves an ideal balance between utilising the tonal and dynamic possibilities offered by the Steinway Model D she plays, without ever imposing the scale of the instrument on the music, such that the modern piano sounds like a natural home for these pieces...In short, there is much to explore and enjoy here, in an album which rewards repeated listening and which leaves me in anticipation of what we hear next from this exciting new addition to Hyperion’s armoury of superb pianists.

Rushdie Momen is virtuosic in the dense variations of Bull’s Walsingham, introspective in Gibbons’s darkly beautiful Lord Salisbury Pavan, and always weaving the music through with fine-spun threads of trills and embellishments, lightly worn. It’s beautifully done.

Rushdie Momen’s stated hope is for these fantasias, pavans and complex ruminations on popular songs to became part of the modern pianist’s canon...She further enhances the repertoire’s profile by interpreting the music with clarity and a natural ease never compromised by her myriad subtleties of dynamics, touch and tone.