*Detailed reviews of all Jacob's releases can be viewed from the discography page.

 

his performance is accomplished and his interpretations convincing

Gramophone Early Music, Autumn 1999

 

a fine tonal colourist

Andrew Benson-Wilson, Early Music Review, 1999

 

he is one of the most gifted lutenists gracing the Early music circuit. . . a dedicated, disciplined, and courageous talent

Marc Cramer, Renaissance Magazine, 2000

 

. . . technical mastery and an overriding passion for the music itself. . . .

Marc Cramer, Renaissance Magazine, 1998

 

Jacob Heringman is a master of his instrument

Sandra Hambleton Smith, Classical Guitar, 1999

 

one of the lute's rising stars

Paul Fowles, Classical Guitar, August 1998

 

exceptional poise and elegance

Paul Fowles, Classical Guitar, August 1998

 

a solid and effortless technique; the music flows beautifully, and has a natural shape that doesn't sound mannered

Tom Moore, Fanfare, 1997

 

He's master of the style and his instruments. . . . highly assured and stylish

Roderick Swanston, Record Review, BBC Radio 3, 11 October 1997

 

masterly and subtle playing

Early Music News, 1990

 

a master of the instrument. . . . this is admirable playing of a refined and undeservedly neglected repertoire.

Lindsay Kemp, Gramophone, April 2000

 

exquisitely lyrical and expressive playing

Andrew Benson-Wilson, Early Music Review, April 2000

 

This CD may change the way we think about intabulations. . . . [H]is controlled mastery of this technically difficult music is something I marvel at

John H Robinson, Lutenet, May 2000

 

an imaginative flair that blows the scholarly dust off these pieces. . . . elegance and grace

Ben Kettlewell, Alternate Music Press

 

. . . the highly talented Jacob Heringman . . . outstanding musicality and warm, clear sound . . .

John Duarte, Gramophone, November 2000

 

. . . one of the most able and enterprising lutenists of the new generation. . . .

. . . quality stuff and beautifully executed. . . . A quality offering and superbly recorded.

Paul Fowles, Classical Guitar, October 2000

 

. . . elegant clarity of performance. . . .

. . . a splendidly assured rendering . . . combining sparkling virtuosity with carefully paced musicianship.

Lucy Robinson, Early Music, August 2000

 

. . . as ever, a master of his art.

Andrew Benson-Wilson, Early Music Review, September 2001

 

It is a daring, and therefore highly noteworthy, undertaking to bring a CD such as this one into the marketplace. . . .

Five stars *****

Gitarre und Laute, February 2001

 

. . . musically sensitive and technically highly accomplished. Strongly recommended.

Brian Robins Goldberg, Winter 2000

 

. . . sublimely played by Jacob Heringman . . . resourceful, tasteful and colourful lute playing . . . .

Ivan Moody, Goldberg, Winter 2001

 

Barbara Bonney gets to the heart of John Dowland’s particular brand of world-weary sadness, exquisitely abetted by lutenist Jacob Heringman. . . . As interpreted by these artists, old music sounds alive, contemporary and wholly relevant.

Andrew Stewart, Classic FM Magazine, January 2001

 

Heringman--a lutenist of vast experience and high technical accomplishment--has been studying Josquin's music for years and his caring, heartfelt playing really speaks, as if somehow there were voices singing through his fingers.

David Vernier, ClassicsToday.com

 

An entirely delightful representation on CD of an Elizabethan lutenist, composer and poet. . . . It is this meditative quality which Jacob Heringman catches to perfection. . . . his playing is appealingly spontaneous. . . . beautifully recorded. . . . [Rosette, three stars]

The Penguin Guide to Compact Discs, 1999 edition, p. 683

 

. . . thoughtfully selected and superbly played, with enormous musicality. . . . This is a lovely disc, exquisitely played and vividly captured. Thoroughly recommended.

D. James Ross, Early Music Forum of Scotland News, 2002

 

. . . effortless control of tone and sense of musical direction . . . it could not be more convincingly presented.

George Pratt, BBC Music Magazine, 2002

 

His playing is a marvel of clarity and evenness of articulation across registers. . . . His always tasteful ornaments and ability to obtain colors from a single instrument that make us wonder if we're actually hearing two add up to a rare and entertaining listening experience. 10/10

David Vernier, Classics Today, 26 June 2002

 

Jacob Heringman is arguably the most sensitive player in the business. . . . It is impossible not to marvel at the dexterity of Heringman's finger work and very easy to be convinced by his inspired phrasing and winning sense of spontaneity.

Andrew Stewart, Music Week, April 2002

 

Deliciously wanton yet sensitive playing.

Anna Picard, The Independent, 7 July 2002

 

Instrumentally, the star of the show was Jacob Heringman with some exquisitely eloquent lute playing. . . .

Andrew Benson Wilson, Early Music Review, May 2003