Merula (NSRCD001): Scottish classical guitarist Matthew McAllister has incredible talent as a composer and guitarist. A student from the Royal Scottish Academy of Music and Drama, he knows his stuff, and this instrumental album is sure to soothe any guitar-loving beast. It’s best served with a glass of red wine and a comfy chair. If you’re into listening to more than one instrument, this may not be the album for you. While it’s beautifully composed, all you hear is guitar and not much else. Highlight: ‘Mr. Dowland’s Midnight’—just gorgeous!

Merula (NSRCD001): It has almost become a general consensus that classical and contemporary repertoire need to be treated fundamentally different. ‘Merula’, however, works exactly because it defies the dogma. For his debut album, Matthew McAllister has taken the liberty of showing his abilties within the most diverse contexts, of organising a time-travel package through the ages and of recording his own interpretations of ‘a choice selection of classic guitar repertoire, alongside newer styles of contemporary guitar music.’ Even more significantly, he has allowed in an element, which has strangely been forgotten in the debate on historical practise: Empathy.

Merula (NSRCD001): There will soon come the time where I will once again be asked by some curious music lover what classical guitar CD I recommend they buy in order to introduce themselves to the instrument. When that time arrives, Matthew McAllister will be the name that will spring to mind. In his recent release, entitled “Merula,” McAllister has produced a disc that features a careful selection of works that serve the dual purpose of complementing each other and representing a variety of composers, time periods, and styles of composition. With the exception of a world premiere recording of Douglas Whates’ “Old Photo” and two Ralph Towner pieces, the CD is a veritable “Best of the Classical Guitar”, featuring some of the most enduring compositions for the instrument. His interpretations of works such as “Choros No.1” by Villa-Lobos, “Julia Florida” by Barrios, and the notorious and anonymously written “Romanza” are carefully and naturally executed. McAllister is more daring in his performance of the popular “Asturias” by Albniz, in which he occasionally sacrifices accuracy in order to push the drama to the limit of his abilities. For anyone interested in experiencing the music of the classical guitar, I recommend this disc as it offers an appealing cross-section of the repertoire as well as Matthew McAllister’s pleasant interpretations.