Without the benefit of any centenary or other commemoration on the horizon, Ernesto Lecuona seems suddenly to have become something of an ‘in’ figure: Thomas Tirino has recorded a lot of his piano music (BIS, 2/97), Cristiana Pegoraro is in the process of doing the same (Dynamic, 3/99), and now Kathryn Stott also makes a notable contribution. She shows sound judgement in presenting just a selection of his work, for there is no gainsaying the fact that among his extensive output of short pieces, avowedly of salon type, there is much that is merely facile, however expertly crafted in pianistic terms. But in her choice Stott not only shows taste but is unsparing in the artistry she brings to her performance, whether the mixed poetry and brilliance of Preludio en la noche or Ante El Escorial, the intriguing rhythm of the Danza de los nanigos (secret-society members) and Danza Lucumi, the charm of Bellflower, the pearly fluency of the Vals arabesque, the ear-tickling staccato Conga de media noche, her sparkling octave-work in the Danza negra and Y la negra bailaba, or the broad melodiousness of La Habanera.
With its delicacy, sensitivity to tonal colour and rubato and sometimes coquettishly teasing spirit, Stott’s playing gives evidence of a real affection for this attractive but undemanding music. The recording is good, but the services of a piano tuner might profitably have been summoned during the sessions for adjustments to the piano’s top octave.'