Salome’s Dance (Loft, 2019)
“This recording provided a great deal of pleasure––a satisfying program of works both more and less familiar, played sensitively and demonstrating the range and beauty of Aeolian Opus 1785.” (The Diapason)
“His playing is expressive, musical, technically accomplished, uses the instrument superbly, and has a fine ear for color––something many organists would do well to emulate.” (American Record Guide)
“‘Salome’s Dance’ . . . is a complete success, as the organ proves an ideal means for realizing the colorful exoticism of the orchestral original.” (Fanfare)
“I was totally unprepared to have a lump in my throat because of the beauty of Parkins’s transcription [of ‘Im Abendrot’]. It really does work. The transcription of Strauss’s ‘Salome’s Dance’ is also amazingly good.” (The Tracker)
“His playing is elegant, with a freely flowing musicality that goes far beyond mere technical mastery.” (The American Organist)
Organ Music of Frescobaldi (Calcante, 2003)
“Robert Parkins succeeds wonderfully in capturing the spirit of the different genres. . . . For someone yet to experience the joys of Frescobaldi, this CD would be a wonderful introduction . . .” (The Diapason)
“Dr. Parkins infuses vitality and excitement into this music through improvisational ornamentation and flexible rhythm, providing insight into 17th-century Italian virtuosity. . . .” (The American Organist)
Iberian and South German Organ Music (Calcante, 2001)
“Parkins is long known as an expert on the Iberian repertoire, . . . This CD not only adds to his reputation in this area, but also shows us how knowledgeable he is in the South German repertoire.” (The Diapason)
“The performances are fresh and spontaneous, transforming the music from museum artifacts to living works of beauty. . . .” (The American Organist)
“Parkins is a careful and thoughtful player. The listener is treated to a program of wonderful music played on a gorgeous organ.” (The American Record Guide)
German Romantic Organ Music (Gothic, 1998)
“Robert Parkins delves into these scores with energy and fluency. The Mendelssohn Sonata has rarely sounded more polished and driven, the Schumann canons never more busy and self-expressive, nor the trio of Liszt pieces more colorful. . . . The translation [of music from Strauss’s Elektra] to this sort of symphonic organ leaves nothing behind in the opera house pit, and Parkins’s own performance liberally grabs at the blood and guts of the tragedy.” (Fanfare)
“I can’t recall having heard a better reading of Mendelssohn’s Sixth Sonata or the two Schumann canonic studies. . . . Parkins really comes into his own in the two movements from the Rheinberger Eighth Sonata, particularly his towering performance of the Introduction and Passacaglia. . . . [He] is artistic, technically flawless, and . . . imaginative. . . .” (The American Organist)
“Wonderful performances and fine organs. What more can one want?” (The Diapason)
Brahms: Complete Organ Works (Naxos, 1994)
“. . . Robert Parkins hits the nail absolutely on the head. The whole disc . . . is a significant addition to the recorded literature of both the organ and Brahms.” (Gramophone)
“. . . Robert Parkins provides sterling readings . . . finding just the right tempo and subtle registrations to convey the spiritual and darkly meditative qualities of these works.” (Chicago Tribune)
“. . . elegant . . .” (The American Organist)
“Parkins performs this music with obvious affection. . . . Unquestionably, the present disc ranks with the best available. . . .” (The Diapason)
Early Iberian Organ Music (Naxos, 1993)
“A specialist in the performance of early Spanish keyboard music, Parkins brings to this repertoire his detailed knowledge of the Iberian style. . . . [His] virtuoso playing, his sense of style, and the wonderful Flentrop organ make for an exquisite recording.” (The Diapason)
“. . . Robert Parkins seizes top honors for his vivid sense of motion and gesture in these chiefly seventeenth-century Iberian works.” (Fanfare)
“. . . Robert Parkins collars loftiest homage for his distinct rhythmic motion and contour in this 17th- and 18th-century Iberian music. . . . Parkins’s music making reflects a convivial good nature. . . .” (The American Organist)
Early Spanish Keyboard Music (Harpsichord: Musical Heritage Society, 1983)
“Mr. Parkins plays . . . with passion and authority, sufficiently to make me sit up and take notice—unusual in that most performances of this repertoire have the opposite effect on me.” (Musical Heritage Review)
“His playing throughout is clear, yet in no way sacrifices the occasional bursts of enthusiasm in these individual works while paying attention to the many nuances of each.” (Continuo)
“. . . music that demonstrates both Parkins’ technical and facility and musical prowess. We should look forward to future recordings by him.” (Musick)
“ All the performances are wonderfully incisive and well thought out . . . the use of rubato results in strongly characterized performances . . . a very enjoyable, well-planned programme, beautifully played.” (The Consort)
“. . . thoughtful, often brilliant, and always impeccable . . . a forthright, no-nonsense performance . . . . The performance, although daring and aggressive, is technically flawless.” (Early Keyboard Journal)
“The playing is idiomatic and at times very stirring . . . extremely instructive . . . could be usefully studied by many students across the world.” (The Organ Yearbook)
“. . . a distinguished performance.” (The English Harpsichord Magazine)
Mendelssohn, Brahms and 17th Century Spain (Gothic, 1982)
“The performance is appropriately virtuosic. One senses a reserve of technique and control at all times. Mr. Parkins’ playing is exciting in both the Spanish and the 19th-century material. There is a rhythmic flexibility which creates high levels of energy and forward thrust. The playing is open and daring without calculation.” (The Diapason)
“A forthright performance throughout . . . [his] technical skills are fully equal to the task.” (American Record Guide)
“[His] forward interpretation quite brilliantly endows the Spanish works.” (Fanfare)
“The playing . . . is excellent.” (The American Organist)
“Flawlessly played . . . a means of displaying his ample technical gifts.” (The Tracker)
“Very authoritative . . . a record deserving of success.” (The Organ Yearbook)
