Discs and Reviews

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“I am musing on how flexible these pieces are because Terry Lynn Hudson does such an excellent job bringing out every facet in her performance. This is an exceptional set of the complete Préludes, fully the equal of versions issued in the 2018 Debussy centennial year, which saw a number of prestigious releases…[Hudson] is a specialist in French music, and it shows: her touch is delicate and nuanced, she effortlessly creates an ethereal mood, and her musical instincts are cultivated to a fine degree. It takes these qualities to be truly convincing in the Préludes. Certainly technique is important, and Hudson shows not the slightest difficulty with the formidable challenges of “Ce qu’a vu le vent d’ouest” and “Feux d’artifice.” She is attuned to the most familiar pieces, such as “The girl with the flaxen hair” and “The engulfed cathedral,” making them sound at personal and fresh. I’ll admit to being startled by this release for a specific reason. American pianists rarely excel in Debussy, and outstanding accounts of the Préludes by an American are even more scarce. I have to go back to Paul Jacobs’s justly acclaimed set from the late 1970s (Nonesuch) to find Hudson’s equal—that’s a long time to wait…I regularly review American pianists with university positions. Hudson is among the two or three most gifted that I’ve heard, and I can enthusiastically recommend her Debussy.”

Huntley Dent, Fanfare Magazine, January/February 2022 

“MSR Classics has made a habit of scouring the under-the-radar territory for artists that while, not normally considered “front rank” like all the names we are so familiar with, are nevertheless top notch in their technical abilities, and ofttimes even better than the “stars” featured by the more famous companies. Such proves the case here. I had never heard of Terry Lynn Hudson…but she certainly has the measure of Claude Debussy’s immortal Preludes…Hudson knows this music very well and approaches it with a fine, graded, and intimate sensibility. There is a smoothness to her method that is enhanced by the warm and equally intimate sound that MSR provides…a real pleasure on the ears. Easily recommended then, even as a first choice in this repertory.” Steven Ritter, Audiophile Audition, September 2018

 

“Terry Lynn Hudson’s account of the Preludes stands very well with the more illustrious pianists in this review [like Gulda and Barenboim]…With a number of publications to her credit, it is no surprise that her booklet essay is top notch…The performances are clear and rhythmically very precise. She brings a tremendous variety of piano colors to this music. Her technique is solid and doesn’t flinch at the requirements of ‘Ce qu’a vu le Vent d’Ouest’ or ‘Feux d’artifice.’ The humor in ‘La Danse de Puck’ or ‘Hommage a S. Pickwick Esq. P.P.M.P.C.’ is never forced, but brought a big smile to my face…In summary, I’d recommend Hudson to anyone as a first set of Preludes. They are solid interpretations, very well played, that put the music first and foremost.” James Harrington, American Record Guide, July/August 2018

 

“Terry Lynn Hudson’s exemplary reading of both books of Preludes, a two-CD set from MSR Classics that is being sold for the price of a single disc, is an excellent introduction to the music for anyone unfamiliar with it–and stands up very well against other recordings, for those who know the material already. Hudson is especially adept at gently evoking Debussy’s scenes of quietude and sadness, notably in Brouillards and La cathédrale engloutie. Debussy’s piano music, generally speaking, is subtle and understated, and this is precisely where Hudson excels. She does not over-sentimentalize these pieces and, indeed, does not over-interpret the ones that benefit from direct and straightforward presentation…Her performance imparts a certain overarching connectedness among the works even in the absence of a predetermined relatedness through keys. Hudson also has a keen sense of wit and humor when those are called for, as in Général Lavine – excentric…By any measure, these are neatly tied-up performances.” Mark J. Estren, InfoDad, June 2018

 

“…pianist Terry Lynn Hudson makes a strong argument for these pieces. She doesn’t try to turn them into anything more exciting than what they are, but through her deep feeling for them and her understated virtuosity she shows how Debussy’s musical impressionism can be deeply engaging on its own terms. Her playing makes me feel like I need to explore further, and she’s the first pianist to achieve that.”

Rick Anderson, CD Hotlist, June 2018

 

“[Terry Lynn Hudson] has a special affinity for the piano music of Claude Debussy, whom she reveres as one who constantly endeavored to expand the capabilities of the instrument. Seen in this light, the two books of Preludes were a “natural” for this artist…Armed with a very impressive arsenal of technical skills, including an exceptional left hand, Terry Lynn Hudson obviously relishes her exploration of both the tonal and the descriptive riches of the Preludes.” Phil Muse, Audio Society of Atlanta, March 2018

“Seldom are we presented with recordings of works that are less familiar. Francesca Arnone and Terry Lynn Hudson have provided one such recording, and it is a strongly recommended addition to anyone’s collection…Hudson’s performance is transparent and supportive throughout.” Brooks de Wetter-Smith, The Flutist Quarterly, Winter 2016

 

“My Delight of the Week…If you play and/or teach the flute, this is a natural pick…but this will be an interesting, unusual, and appreciated gift for many music lovers who just might not have a flute and piano CD on their radar.” Kara Dahl Russell, The WSCL Blog, March 2015

 

“The sound is splendid and the pieces are a pleasure to hear…Terry Hudson’s accompaniments are expert and involved.” Todd Gorman, American Record Guide, January/February 2015

 

“My personal favorite in the present recital? It typically depends on which piece I’ve heard most recently…It is easy to point out Arnone’s contribution to the success of this recital because of the sheer beauty of her instrument. But listen a little closer and you will hear the vital role Hudson plays in a piano role that is never ‘mere’ accompaniment.” Phil Muse, Audio Society of Atlanta, November 2014

 

“…all the playing [is exceptional].” Mark J. Estren, InfoDad, September 2014

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