“… Brooks shines in the sparkling passage work, which she plays cleanly and brilliantly… In a time when we routinely hear fussy and overblown continuo, Duo Dorado has hit upon an elegant solution: They play some of the sonatas with organ and some with harpsichord. No plucked or sustaining bass instrument (or tambourine, for that matter) is heard, which I find refreshing. It seems performers are starting to realize that the duo format is an authentic solution for performing Baroque solo sonatas…”

“… The sonatas presented here are from a manuscript in the British Library and are quite adventurous for their era. I find this set pleasant to listen to … He [Pollock] does an excellent job in the keyboard parts … Brooks is a period performance practioner, so vibrato is scare and narrow … Good sound as usual from Chandos.”

“…Together, this selection casts an irresistible light on the musical scene in the Restoration period beyond Purcell and before the arrival of Handel on these shores.”  *****

“…Brooks and David Pollock play with great clarity and directness. The performances are cannily varied with Pollock playing either a double-manual harpsichord, a 1999 replica of a Ruckers-Hemsch, or a continuo organ of 2007. This ensures that colours are never static, with, in the main, two harpsichord-accompanied sonatas followed by two organ-accompanied ones. Decoration is sparingly used. The Duo brings this music valuably to life and shows that Finger’s is a voice that deserves to be heard.”

“…Brooks’ eighteenth-century violin, rigged in baroque style, with a copy of a bow from 1686, seems just right for the music. David Pollock provides skilful partnership. Switching between a double-manual harpsichord and continuo organ adds a degree of variety to the sound picture… The recording is clear and bright, with little of the resonance that one might expect from the acoustic of the church where the recording was made …an attractive opportunity to get to know this neglected composer. “