Perhaps harpists make the best composers for the harp; or perhaps they just have the knack of writing the music their colleagues most enjoy playing. Either way the listener wins: who among readers of this magazine could be stony-hearted enough to resist Hasselmans, Godefroid, Tournier, and (perhaps) Salzedo, when played by a fellow-harpist of the calibre of Robles? Well, not this listener anyway; though he will go on to admit that the only slightly sterner stuff (on this occasion) of Busser, Faure, and Saint-Saens does have an agreeable quality of its own, and does set off excellently the music of the harpists themselves. Pierne stands out, in that he does not write stern music at all; and also in that he is here not especially recognizable as the composer of the Entry of the little fauns. Indeed, every composer represented contributes splendidly to this feast of what W. R. Anderson (a name familiar to older readers) would have called 'strawberries and cream'; so does Marisa Robles; so do the engineers with a first-class quality of recording.
In a coda for harpists it should be mentioned that the Robles performance of the Faure Impromptu is especially authentic, in that her own teacher, Hasselmans, was coached in the piece by Faure himself.'