The programme has evidently been carefully chosen to reflect the breadth of genres in the collection. . . .
Catherine King's voice is distinguished by purity of tone and perfect intonation: every word is clear, ornamentation is used effectively in the strophic settings. . . . King is content to let the words and music speak for themselves. Jacob Heringman's sensitive accompanying supports the line without challenging it, and is effectively varied where needed.
The songs are interspersed with fantasias and the shorter tientos for solo vihuela. Once again, the playing is refined, even meticulous, Heringman working wonders in voicing and phrasing the contrapuntal textures. . . .
. . . I would not want to be without it. The recording itself is of the highest standard, immediate yet warm, with no sense of the vihuela having to compete with the voice (John Taylor's name on a disk is coming to be a hallmark of quality in recording this repertoire). . . . Stephen Haynes's notes are informative. . . .
from Lute News, June 1998