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Ken Meltzer, September / October 2021, Fanfare Magazine:
"The exemplary performances by Jeppesen and theorbo player Catherine Liddell are immaculate in execution, and played with the utmost sensitivity of phrasing and tonal beauty. All of this is captured in recorded sound that beautifully reproduces the atmosphere of an intimate gathering. The overall effect is quite magical, and a pleasure from start to finish. An exquisite release, one I enthusiastically recommend."

Colin Clarke, September / October 2021, Fanfare Magazine:
"The players chose pieces that suited this combination, sans keyboard, carefully. The result is beautiful in the extreme. The Sarabande from the C-Major Suite is a pure example of that sublimity; the Courante that follows is the epitome of gallanterie. The use of viola da gamba and theorbo gives this music a sense of otherworldliness that, alongside with revealing the music's inherent dignity, is little short of revelatory. It is clear much thought has gone into the realization of Marais' scores, and the two players play as one, with an almost telepathic rapport. Technically, everything is impeccable."

Michael De Sapio, September / October 2021, Fanfare Magazine:
"Whatever the meaning, this is exquisite music and exquisitely performed. With musicians as proven as these we can be sure of being in good hands. Jeppesen's way with the viol is more expressive and characterful as well as fuller of tone and more varied of color than one often hears. She executes perfectly the Marais' minutely notated ornaments, including a special fluttering vibrato. Everything is gloriously light, never the least bit labored, not even the multiple-stopped chords. Her love and affection for the music come through."

Keith Kibler, Summer 2014, Berkshire Review:
"A marvelous concert...The viola da gamba gives the sense that around the straight narrowness of the tone, there is something else, full of suggestion. The instrument itself conjures you into listening twice--first to the actual sound, and then, almost against your will, to something else it puts into the room. The viol always seems a private confidant. I have heard Laura Jeppesen perform a great many times, and her playing on this occasion was more fluent than ever, and spoke intimate truth."

Samuel Kjellberg, July 8, 2014, The Boston Musical Intelligencer:
"Laura Jeppesen, viola da gambist, was perhaps the most compelling musician of the evening. The contact she was able to make with her instrument seemed second nature, allowing the gamba's metallic quality to ring through the musical texture."

Mary Wallace Davidson, September 11, 2011, The Boston Musical Intelligencer:
"Jeppesen has a very special way of connecting musical phrases that has you sitting on the edge of your seat, waiting for more."

Richard Dyer, December 6, 2003, The Boston Globe:
"The Boston Museum Trio has played together so long, so often, and so well that it is easy to take this remarkable ensemble for granted. Violinist Daniel Stepner and gambist Laura Jeppesen (who are married) and harpsichordist/fortepianist John Gibbons performed together for the first time at Monadnock Music in New Hampshire almost 30 years ago -- three years before they took up residence in the Museum of Fine Arts There aren't many chamber ensembles that have endured as long without change of personnel. To its decades of collective experience, in this context and in others, the Museum Trio still brings technical command and a youthful, inquiring zest -- this is a privileged time to be hearing the group."

Richard Dyer, May 17, 1993, The Boston Globe:
"Twenty years ago, three musical friends joined to play a concert. At that point they probably had no idea that their work together would continue for decades and that they would become one of America's most eminent chamber-music ensembles, the Boston Museum Trio. The Trio's success is based upon solid musical and interpersonal values. The group puts together programs reflecting imagination, taste and scholarship; their friends are all good musicians too, and they regularly show up to vary the tone and texture. The group's involvement with what it is doing makes everything it plays seems contemporary and relevant--there is no musty antiquarianism here, and for these musicians, knowledge is not a rule book but a springboard; treatises are trampolines that bounce them into livelier operations of fantasy, feeling and thought. Each of the players is a virtuoso and a strong musical personality, yet when they play together they become something more than the sum of three parts; they are a third thing, a trio. It is one of the few early instrument ensembles, even now, that plays on the level of ensemble and intonation we take for granted in first class chamber-music playing on modern instruments. They visibly and audibly take delight in the music they are playing, in working each other, and in sharing their discoveries with audiences. They go all out, take risks, and public invariably respond to that."

Anthony Tommasini, April 9, 1993, The Boston Globe:
"Viola da gambist Laura Jeppesen must be singled out from the excellent Emmanuel Orchestra. In the great alto aria "Es its vollbracht," her playing of the plaintive instrumental solo that intertwined with the alto line had the nuances and lyricism of great solo singing."