Piano recording reviews
"Honeybourne brings a refulgent warmth to the Ravelian Opalescence and the Theme and Variations"
The Strad, April 2022 (Opalescence: Piano and Chamber Music by Ruth Gipps)
"Spooner and Honeybourne are a fabulous combination of musical characters both of whom fully understand this music...This disc is a real gift to the musical world at large. Superlative performances of beautiful, and often powerful, music."
ClassicalExplorer, January 2022 (Opalescence: Piano and Chamber Music by Ruth Gipps)
"(Peter) Cigleris and Duncan Honeybourne are ideal executants in an account I cannot see being bettered any time soon. Somm's sound is unobtrusively superb. Recommended."
Gramophone, December 2021 (Dedication: The Clarinet Chamber Music of Ruth Gipps)
"...the Clarinet Sonata of 1957 in a luminous account with pianist Duncan Honeybourne."
BBC Music Magazine, November 2021 (Dedication: The Clarinet Chamber Music of Ruth Gipps)
"Honeybourne's performances throughout this recital deserve the highest praise. Virtuosity is one thing, and it is delivered in spectacular fashion. But in these performances, virtuosity is combined with profound musical insight and mastery of the architectural spans of extended movements."
MusicWeb International, October 2021 (De Profundis Clamavi)
"Never a pianist to pull his punches, Duncan Honeybourne adds to his expanding discography with this extensive survey of British piano music...It is the Piano Sonata by Frank Bridge which inevitably dominates this collection, not least as this recording is among the finest from recent years...Honeybourne has been astute in his planning so that each disc can be appreciated as a stand-alone recital in its own right, or as independent halves of an "uber-recital" which even he would be unlikely to undertake in a live context. All except the Bridge, Britten and Parry are receiving their first recordings, and it would be surprising if some pieces did not enjoy greater exposure in future. For his dedication in championing them, and for putting together such an ambitious anthology, Honeybourne can only be commended... It adds up to an impressive release and a highlight of the EM Records catalogue so far."
Richard Whitehouse, On Record - Arcana, November 2021 (De Profundis Clamavi)
"This generous set (of two and a half hours) is a triumph for Duncan Honeybourne's intelligent pianism"
Present Arts, October 2021 (De Profundis Clamavi)
"This is a wideranging survey of British piano music from the 20th century, including a rather delightful trio of works by Edgar Bainton, a composer more familiar for his choral music....with several premiere recordings, it's a nice album to have in the collection."
BBC Music Magazine, October 2021 (De Profundis Clamavi)
"It goes without saying that Duncan Honeybourne's playing is superb throughout. He has rapidly become the Dean of British piano music."
MusicWeb International, September 2021 (De Profundis Clamavi)
"The recorded sound is superb. The playing is exemplary throughout - a very appropriate tribute to one of the most substantial and significant composers of our time."
British Music Society News, Autumn 2021 (John Joubert: The Complete Solo Piano Music, 2021 edition)
"With an unerring sense of colour and narrative, Duncan Honeybourne finds the individual character of each miniature. His thought-provoking, wide-ranging programme is thoroughly recommended." (*****5 stars)
Musical Opinion, Jan-March 2021 (Contemporary Piano Soundbites)
"...this remarkable set of pieces...the recital seems to me perfect in every way. Duncan Honeybourne is a great champion for all these composers."
MusicWeb International, October 2020 (Contemporary Piano Soundbites)
"Pianistic callisthenics, big chords, virtuoso runs and ripples remind one of Rachmaninoff. All these are certainly there and, with his seasoned technical abilities, Duncan Honeybourne is the man to deliver these with stylistic elan."
British Music Society News, 2020 (Piano Music by Geoff Cummings-Knight)
"This is one of the most interesting and rewarding CDs to have come my way for a long time...Duncan Honeybourne is an ideal interpreter of these works. He brings out the drama and poetry in this music with total conviction and it is hard to imagine better performances; Geoff Cummings-Knight is fortunate indeed to have such a persuasive advocate. These fine performances are captured in superb sound, which is both clear and warm."
MusicWeb International, August 2020 (Piano Music by Geoff Cummings-Knight)
"glittering performances from Duncan Honeybourne...it is not hard to hear why Joubert was drawn to his playing. The performances are fluent and powerful, alive to the full range of Joubert's mercurial invention, whether in the jagged rhythms of the Bartokian Dance Suite (1958) and concentrated Sonata in one movement (1957), or the more melodic lines of the Lyric Fantasy. The two later sonatas require even greater virtuosity and these accounts are a match for their rivals."
International Piano, 2019 (The Complete Solo Piano Music of John Joubert)
"This CD is a landmark with all Joubert's piano music...Honeybourne is totally sympathetic throughout this CD - a well-recorded claim for a neglected chapter in British piano music." (*****5 stars)
Musical Opinion, Jan-March 2020 (The Complete Solo Piano Music of John Joubert)
"Honeybourne's playing is always polished and refined."
American Record Guide, 2019
"A most accomplished pianist”
"Combining rigour and sensitivity, the interpreters serve this fine music perfectly."
Classica magazine (France), 2019 (Parry complete music for violin and piano on EM Records)
“Medieval chant, Dowland, Debussy and Messiaen are just some of the influences on the gentle Lunae, superbly performed by Duncan Honeybourne, who also captures the gnomic essences of Shadows, Harrison's tribute to composer William Baines...An important disc." (*****5 stars)
International Piano (Return of the Nightingales: Music for Solo Piano by Sadie Harrison)
“A disc that offers much of interest for inquiring listeners and players alike. Not that those latter will find it easy to match the technical finesse and interpretative insight of the pianists featured here.”
Gramophone (Return of the Nightingales: Music for Solo Piano by Sadie Harrison)
“Duncan Honeybourne has the lion's share... with fine accounts of the two large sets, Lunae (2012) and Shadows (2013).”
Musical Opinion (Return of the Nightingales: Music for Solo Piano by Sadie Harrison)
“Honeybourne sensitively and sensuously illuminates the tender, intimate lyricism”
The Cross-Eyed Pianist (Return of the Nightingales: Music for Solo Piano by Sadie Harrison)
“A box of delights, wrapped up in a musical package”
Sounds Magazine (Return of the Nightingales: Music for Solo Piano by Sadie Harrison)
“It's fun to hear from Walford Davies in his student days, flamboyantly building up his 1890 Theme and Variations from a docile, hymn-like melody. Honeybourne treats his enterprising repertoire with respect and affection.”
BBC Music Magazine, 4 stars **** for performance and recording (A Western Borderland)
“Honeybourne has given a wonderful, inspired account of all these pieces... a remarkable CD.”
MusicWeb International (A Western Borderland)
“Duncan Honeybourne is peerless in his handling of the (solo piano) music”
MusicWeb International (Flowing Waters)
“Honeybourne's performance is simply beautiful, even in its most powerful and haunting moments”
Fanfare magazine (USA, Flowing Waters)
“Luke Whitlock's debut CD, Flowing Waters, is a collection of beautifully composed pieces. Being a pianist myself, I'm particularly fond of the expressive and varied piano music on the CD, which is superbly performed by Duncan Honeybourne.”
Debbie Wiseman MBE (Film & Television Composer, Flowing Waters)
“I have listened ‘right-through’ and again in shorter sections and found lots of lovely moods. My own immediate favourite - and I believe for many other listeners - is without doubt Evening Prayer. It is also beautifully played!”
Joseph Horovitz (composer, Flowing Waters)
“The sympathetic pianist in this recording, Duncan Honeybourne…Cooke’s style, most affecting in lyrical mood, breathes something of that luxuriant Romanticism with which we are now much more familiar in the piano music of York Bowen…Honeybourne, with his delicate chemistry of touch and arm weight, persuasively coaxes out Cooke’s personal sense of poetry and gentle humour.”
Gramophone (A Forgotten English Romantic)
“This recording is superbly presented in every way. The liner-notes, written by Duncan Honeybourne, are excellent, informative and interesting. The standard of playing is of the highest order; the recording is outstanding.”
MusicWeb International (Recording of the Year, July 2014 A Forgotten English Romantic)
“Instantly claims an eminent place in the annals of British recorded music. The performances catch both the storm and crash of these pieces, their willowy poetry, whimsical wit and flickering dappled fantasy. Cooke is fortunate in having found such a champion.”
MusicWeb International (Recording of the Year, July 2014 A Forgotten English Romantic)
“A programme that enchants, disarms and whets the appetite for more in equal measure.…Duncan Honeybourne’s playing is astonishingly affectionate, but never saccharine, something that rescues pieces like Rosenthal’s Variations on a Nursery Rhyme from the salon. Stanford’s Ballade in G minor presents some of the most serious of intent music on the disc, distinctly Lisztian in breadth and gesture. Honeybourne plays it with suave confidence.”
International Piano (An Irish Idyll)
“Duncan Honeybourne identifies completely with all this music and plays it with much feeling. He is well recorded and provides highly illuminating and extensive notes. A set not to be missed by all lovers of English music.”
Gramophone, July 2013 (E. J. Moeran: The Complete Solo Piano Music
“There are gorgeous things here, such as Moeran's Two Folksong Arrangements and Vaughan Williams' The Lake in the Mountains. Hard to imagine better performances.”
BBC Music Magazine (E. J. Moeran: The Complete Solo Piano Music, **** excellent rating)
“Honeybourne is in a class of his own, and his account of the Theme and Variations (Moeran’s most substantial piano work) is unsurpassed on disc. I would rate this new two CD set as the best complete recording of Moeran’s piano output.”
MusicWeb International April 2013 (E. J. Moeran: The Complete Solo Piano Music)
“A highly pleasurable experience. It is immediately clear that Honeybourne has much to offer in this repertoire.”
International Record Review
"A "must-have" for collectors of English piano music, very well played by Duncan Honeybourne."
“What a find! The performance of this delicious work is beyond praise; a truly sparkling rendition.”
“Honeybourne is a strong advocate of Stalham River, probably Moeran's finest piano work, allowing it to wend its way, for the most part tranquilly, but adds terrific intensity and touches of panache where needed. Of the other Moeran pieces I am particularly fond of Folk Story and Toccata, in which Honeybourne generates a powerful and carefully directed performance. Honeybourne's performance of Howells's Sonatina is most persuasive, while his version of Swaffield's Rapallo is captivatingly caught. Fleischmann's Suite for Piano really captured my imagination from the opening bars and left me wondering why on earth it has not become a more established work. Honeybourne's notes are comprehensively and thought-provokingly written.”
International Record Review (E. J. Moeran: The Complete Solo Piano Music)
“This absorbing two CD set is therefore especially valuable and it has two points strongly in its favour; firstly the persuasive advocacy of Duncan Honeybourne – who clearly loves this music); and secondly the placing of Moeran’s piano works within the broader context of the English and Irish keyboard writing of the time. The results are illuminating and have certainly led me to rethink my attitude to this neglected music.”
MusicWeb International (E. J. Moeran: The Complete Solo Piano Music)
“Moeran is known now, if at all, for his Symphony in G minor which sounds very like Vaughan Williams. That goes for Moeran's piano music as well, so if that lyrical, English folk-infused sound world is one you like to visit, then this double CD will bring much pleasure. You'll certainly enjoy the Two Folksong Arrangements, Stalham River and On a May Morning, for example. This set also includes works by Moeran's English and Irish contemporaries so there's a chance to compare Moeran's work with Vaughan Williams. His The Lake in the Mountains is here, and pieces by Baines, Pitfield, Swaffield and Fleischmann, some of whose works get world premiere recordings. Birmingham Conservatoire graduate Duncan Honeybourne's performances are eloquent and never twee (a danger in this repertoire). Moeran's non-folksy Toccata, arguably his best solo piano piece, is very deftly played — slower than Eric Parkin (on a Lyrita CD) but persuasively so.”
The Birmingham Post (E. J. Moeran: The Complete Solo Piano Music)
Piano recital reviews
"The 2022 Howdenshire Music concert season was inaugurated with distinction by a memorable recital from the pianist Duncan Honeybourne...The first piece on the programme was Schubert's Sonata in A minor, D784...The improvisational freedom and concentrated power of the opening movement was striking. In Duncan Honeybourne's finely balanced interpretation, the main idea's sullen obsessiveness was counterpoised by the secondary theme's delicacy and tenderness, and the brusque, heated development section was offset by the cryptic, elliptical ending...The melodic lines were always crisply and cleanly articulated, and the fiery closing gesture was admirably controlled. In sum, this was a profoundly thoughtful, inspiringly committed account of one of Schubert's grandest and most starkly dynamic utterances...The recital's second half consisted of the premiere of Sadie Harrison's Portraits from the Place of the Yew Trees...The audience's enthusiastic response was a tribute to the care with which Sadie Harrison created her expressive, tellingly allusive score, and to Duncan Honeybourne's musicianship, as he etched in the work's contrasting colours and moods with great technical facility and unfailing imagination."
Musical Opinion, July-September 2022
“Honeybourne — a gifted pianist in whom a spirit of adventure meets high musicianship — has become quite a force in the land”
“Celebrations for Joubert’s 90th birthday continued with this recital of his complete solo piano music given by the heroic Duncan Honeybourne. Honeybourne brought both intellectual and physical stamina to these works... given here with eloquence... limpidly, beautifully phrased and articulated by Honeybourne... and performed with a sense of rediscovery — as indeed was the entire recital... Here, as throughout the entire programme, Honeybourne showed himself instinctively attuned to Joubert’s sense of structure and colour.”
Musical Opinion (recital of the complete piano music of John Joubert at the Birmingham and Midland Institute to mark Joubert’s 90th birthday, March 2017)
“The sonata’s (Joubert’s Third Piano Sonata) disparate elements coalesced logically into a powerful entity as the work’s dedicatee unfolded each phrase and paragraph at white heat. This cogently argued and emotionally charged performance was the highlight of the concert... Duncan Honeybourne’s recital was judiciously planned and superbly played.”
“That fine pianist Duncan Honeybourne”
“A doughty champion of English piano music”
The Birmingham Post
“Honeybourne is a natural, knowledgeable and engaging communicator who addresses his audience between the solos. When this quality is coupled with pianism of rarefied emotions and storming virtuosity we know we are in the presence of a young pianist of whom we will hear a great deal more. Concert promoters and record companies should be seeking him out... Honeybourne’s (Bridge Piano Sonata) was a great performance. The work’s complexities and dark arbours were relentlessly explored. Every chord was relished in its weighting, sustaining and blend.”
MusicWeb International, May 2014 (Cooke, Bridge, Rosenthal, Farrar and Gurney, performed by Duncan Honeybourne at Dorchester Abbey, Dorchester-on-Thames on day 2 of English Music Festival 24/5/2014)
“The superbly athletic Duncan Honeybourne, whose CDs of British piano music have served to revive the fortunes of many neglected scores and composers”
MusicWeb International, May 2014
Despite dreadful weather, our intrepid members made the journey to The Lights Theatre to see pianist Duncan Honeybourne in concert. This eagerly awaited artist did not disappoint. The evening began with Beethoven’s Sonata in E minor. Duncan caught the mood immediately. Wonderful, contrasting sounds between both movements were delightful. Liszt’s Sonnetto 104 del Petrarca tells the story of Petrarch’s tangled feelings for an unattainable and impossible love. Duncan’s playing brought forth all the emotions Petrarch experienced from initially trying to deny his feelings followed by longing, passion and dismay. Next, before the interval, Schumann’s Waldszenen (Forest Scenes), consisting of nine pieces, took everyone in the auditorium on a breathless journey of anticipation, trepidation, peaceful beautiful scenes, immediately changing to the dramatic, followed by hearty songs and laughter and reluctant farewells. Duncan’s unique presentation draws the audience into his world of music. The depth of feeling this immensely talented pianist puts into each note ensures that the listener is treated to an uplifting and rewarding musical experience. The second half of the concert began with Fleischmann’s Suite for Piano. Published under a pseudonym, Maurice Ronan, Fleischmann displayed his Irish roots with pride. Once again, Duncan accurately portrayed Fleischmann’s strong Celtic allegiance to his country through music, some of which was dark and thoughtful, interspersed with optimistic folk music, concluding with a typically cheerful, jaunty jig. Chopin’s Sonata in B Minor opened with a dramatic first movement, followed by a sparkling E flat major Scherzo. The brilliant Largo was followed by a magnificent triumphant Finale. Throughout the evening Duncan’s interesting and informative narrative and obvious passion for his craft could not help but transfer his enthusiasm to the audience, not least because of his warm, engaging, personality. Following prolonged and enthusiastic applause at the end of the concert from the hugely appreciative audience, Duncan delighted us all even further with a beautiful rendition of Bach’s Jesu Joy of Man’s Desiring, guaranteed to send everyone home with smiles on their faces.
Andover Music Club, 24 January 2013
"Duncan's singing tone and clean, crisp fingerwork was evident throughout, and the audience was spellbound by the beautiful tone he produced...he displayed the full range of tone and dynamics, and delicacy of touch, giving a magnificent performance."
“Duncan Honeybourne’s technique can face most technical challenges... the balance between golden-bloomed melody and rippling accompaniment was always beautifully judged.”
The Birmingham Post
“Honeybourne played with energy and verve and formidable technique.”
Seen and Heard International (MusicWeb) (Rachmaninov Second Piano Concerto in South Wales)
“Duncan Honeybourne was the soloist, his voice-leading revelatory, his tone rich and full. And he knows how to listen to the orchestra.”
The Birmingham Post (Schumann Piano Concerto at CBSO Centre)
“...gave a technically-assured performance of this virtuoso work, the Emperor Concerto, surmounting its difficulties with ease.”
Central Somerset Gazette
“The Mozart Concerto for Two Pianos was something else; it is a lean astringent in-joke, using a pair of them new-fangled pianos in the aural equivalent of a blind wine tasting. The two soloists were Finghin Collins and Duncan Honeybourne. Speaking afterwards, John O’Conor said that you could never tell which pianist was playing, and yes, he spoke truly. Given that the pair hadn’t met a week before, it was a tribute both to them and to the conductor. Everyone achieved the sense of an elegant and witty conversation, and the cadenza in the last movement with its 'ralls' worked very well.”
“Exceptionally fine accompaniment from the highly regarded pianist Duncan Honeybourne. He proved an impressive soloist in Liszt’s transcription of Schumann’s song Widmung; his masterly skills received a tremendous ovation.”
“From the compelling opening of Bax’s Second Piano Sonata to its gentle conclusion, Honeybourne’s playing was atmospheric, at times stormy, at others delicately fluid, but never losing sight of the work’s structure. In Brahms’ Handel Variations the theme was crisply announced, and every variation assured and well characterised, leading authoritatively to the weighty final fugue. In a committed performance of Baines’ Seven Preludes, Honeybourne was a persuasive advocate for this rarely-heard composer. Chopin’s Third Sonata was given a powerful and poetic performance; the beautifully controlled Largo provided a quiet interlude before the exhilarating finale. Chopin’s Tarantelle was the generous encore which concluded a sincere and insightful performance.”
Derby Evening Telegraph
“Duncan Honeybourne performed a masterly solo piano recital for Seaton and District Music Club in Seaton Town Hall. His sense of poise, rhythm, contrapuntal phrasing and exquisite variety of touch brought the club’s Steinway grand piano to life. Previously unheard-of composers were championed in an exhilarating and refreshingly energetic, enthusiastic style of performance. Complex rhythmical passages of intense expression were matched by moments of quiet, reflective scarcity of notes. It wasn’t just his fingers, but his whole being, that seemed to be necessarily involved in this wonderful performance. The hundred or so members and visitors present were treated to a memorable confirmation that musical talent resident here in the South West is equal to the best this country has to offer. This quality of musical enjoyment always leaves one wanting more.”
East Devon Midweek Herald
“Piano virtuoso Duncan Honeybourne performed Rachmaninov’s Piano Concerto no. 2 in C minor with all the authority and passion that the work deserves.”
“As he played Schumann’s Fantasy and the rarely played Sonata Romantica by Nicolas Medtner, Duncan Honeybourne’s talent, passion, commitment and absolute command of the keyboard were beyond question. Words such as poised, beautiful, invigorating and tender come to mind when he plays Schumann, while his interpretation of Medtner was romantic, boisterous, light and playful.”
“The arrival of two gifted young pianists for Mozart’s Double Concerto. Irishman Finghin Collins and Englishman Duncan Honeybourne had had less than a week to create a remarkable partnership, fluent, alert and always appreciative of the work’s wonders. It was revealing to note different tonal colourings between the two pianists, the interchange of ideas was impressive.”
The Birmingham Post
“Honeybourne’s playing was wholly compelling.”
“Duncan Honeybourne’s display as a piano virtuoso was especially notable… Honeybourne gave a masterly performance of Brahms’ Sonata in F minor, leaving the audience eager for more.. The programme ended with Medtner’s Sonata Romantica, when another commanding performance was enjoyed, from the tuneful Romanza, through a Scherzo played at breakneck speed, to the Finale, which enveloped the room. Before going home several people expressed a wish that Honeybourne will make a return visit. I second that.”
Kidderminster Times (Kidderminster Music Society recital)
“The two highly gifted soloists, Margaret Newman and Duncan Honeybourne, formed a beautifully-crafted partnership for their large-scale recital featuring six composers. The enthusiastic applause by the audience encouraged the soloists, who had played with so much excitement and warmth, to return for a short encore to bring the evening to an enjoyable and memorable climax.”
Birmingham Jewish Recorder
“Beethoven’s big C minor Violin Sonata warmed into a reading with wonderful depth of tone and well-developed feel for phrasing and dynamic contrast.”
The Birmingham Post
“Sharon McKinley and her equally accomplished pianist Duncan Honeybourne, their ensemble based on much mutual respect and understanding, gave this fine piece a memorable reading.”
The Birmingham Post (Bridge Cello Sonata)
“In a world almost overloaded with excellent young pianists, it takes something extra to stand out. Duncan Honeybourne possesses not only a fine technical ability and intelligent musicality – he also has a compellingly original personality and a highly articulate manner that makes his performances memorable and special. Here is a different pianist with something new to say. Listen to him!”
John York, Columnist/Reviewer Piano magazine and Professor of Piano, Guildhall School of Music & Drama
“Duncan Honeybourne gave what can only be described as an ideal performance. His performance was the centrepiece of an excellent recital, which also gave us Schumann’s Waldszenen and Fantasy, the latter in particular highly expressive. The other high-point in the programme was a rare opportunity to hear Medtner’s Sonata Romantica.”
British Music Society News, September 2003 (UK premiere of Andrew Downes’ Piano Sonata no.2 at Wednesbury Art Gallery)
“A highly original programme played by a very talented and wonderfully original pianist who will carry the 'Golden Age' into the future. Marvellous!”
Richard Herriot, pianist and Artistic Adviser to the BBC Radio Leeds Lunchtime Concerts at the Wakefield Theatre Royal and Opera House, West Yorkshire
“On Friday night, after Duncan Honeybourne’s performance of his Piano Sonata no.1, composer John Joubert commented: 'That was exactly right' – praise indeed. And that phrase sums up the entire programme, which was well-balanced, mixed between popular and the less known works, and played superbly. As on his previous visit, Mr Honeybourne waived the chance of a 'warm-up', just sat down and got on with a demonstration of how to play the piano. We first were treated to Grieg’s delightful Wedding Day at Troldhaugen, a great start to any programme. Then came the Joubert work, which sounded very difficult to play, and Mr Honeybourne was not at all phased by the presence of the Music Society’s patron, from the reflective opening, through the dramatic middle passage, and gentle ending. The first half ended with the Brahms Handel Variations, where again the pianist brilliantly illustrated the variations in style, tone and tempo. The second half began with the Seven Preludes by William Baines. The final item on the programme was the sublime Piano Sonata no.3 in B minor by Chopin, where Mr Honeybourne again delighted.”
Kidderminster Times, (Kidderminster Music Society recital)
“Schumann’s Piano Concerto, brilliantly played by the well-known professional soloist Duncan Honeybourne.”
“I just wanted to thank you again for your splendid performance of my Second Piano Sonata last night. It was a tremendously heartening experience to hear it played with such conviction and concentration. I shall now tackle the last movement of Sonata no. 3 with renewed confidence and vigour! Meanwhile thanks again for a memorable and impressive performance.”
"a splendid performance which brings out all the contrasts of mood, from stormy to tranquil, with great skill and emotional insight. Congratulations! It was a real treat to hear this old work (Joubert's First Piano Sonata) coming up so fresh!"
Letters, after recitals, from the composer John Joubert (1927-2019), whose Piano Sonata no.3 was written for Duncan Honeybourne
“Pianist Duncan Honeybourne played Downes’ powerful Hardy-inspired Second Sonata without a hint of self-consciousness. In this work short, contrasted passages yield to a sense of quiet exaltation, but so naturally that a flashy performance is unnecessary. With unaffected and sincere playing, the music speaks eloquently for itself; humane, optimistic and often extremely beautiful. Honeybourne immersed himself completely in Downes’ musical language. A composer couldn’t ask for a more handsome tribute.”
The Birmingham Post
Organ performance reviews
“Entitled By Cotswold, Severn and Wye, a sequence of organ music celebrating (Holst and Gloucestershire composers) was devised and played by Duncan Honeybourne. No easy task, given the modest scope of the "rustic" organ, but Honeybourne chose his programme resourcefully and handled the little instrument with sensitivity, finding expressive qualities others might have missed.”
The Sunday Telegraph, September 2013
“Both soloists play with nuanced feeling, and Duncan Honeybourne is an articulate advocate both for the music and for the expressive Kuhn organ of Jesus College, Cambridge. Ravishing accounts, too, of violin and piano sonatas by Sumsion and Darke.”
Choir and Organ (King of Instruments, Instrument of Kings)
“Duncan Honeybourne scintillating in the important organ obbligato”
The Birmingham Post (Andrew Downes First Symphony at Birmingham Cathedral)