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John Terauds
Musical Toronto, April 2013

Marangoni lays everything out in clearly articulated, deeply committed performances.

The last eight pieces each feature something a bit unusual to wrap around the repetitive nature of a technical exercise. © 2013 Musical Toronto Read complete review



Ralph Graves
WTJU Classical Comments, March 2013

Marangoni plays with alacrity and a light touch, making these difficult exercises sound effortless. And more importantly, he makes them sound musical. © 2013 WTJU Classical Comments Read complete review



Off Topic’d, March 2013

Pianist Alessandro Marangoni completes his survey of Muzio Clementi’s Gradus ad Parnassum with this release. Composed over several years, this three-volume collection of keyboard exercises has become one of the standard teaching tools for pianists. But these works aren’t just a series of dull and difficult finger exercises.

True, within each of the short pieces in this collection a pattern of notes will occur over and over, sometimes obsessively. But Clementi underpins those patterns with interesting  and supple harmonies that provides forward motion and musical organization.

Marangoni plays with alacrity and a light touch, making these difficult exercises sound effortless. And more importantly, he makes them sound musical. © 2013 Off Topic’d Read complete review on American Record Guide



David Denton
David's Review Corner, February 2013

We have now reached the fourth and final disc in the ‘Art of Playing on the Piano Forte, Exemplified in a Series of Excercises’, known as Gradus ad Parnassum. It was the work of Muzio Clementi whose piano manufacturing company was looking to increase the interest among young people in studying the instrument. He had been born in Italy in 1752, and was brought to London by a wealthy Englishman in 1766 at the age of seventeen. There he developed into the nation’s most famous virtuoso pianist and composer. With the money he earned on stage, he not only created the piano company, but was also active in music publishing. Among his compositions came the three volumes of Gradus ad Parnassum which set the student 100 tasks in piano technique…Today they would be seen as pieces for the younger student, and at times you feel Clementi was indulging himself in a demonstration of his own compositional techniques, including—as we go through the studies—fugues, preludes and canons, together with some finger-twisting exercises. I guess Clementi never expected them to be played in concert, most lasting little more than a minute, their length hardly sustaining the listener’s interest. But here they are for our delectation, played by the Italian pianist, Alessandro Marangoni. His clarity of articulation is admirable, and his performances relays the score within its own modest attainments… The sound quality is pleasing. © 2013 David’s Review Corner






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12:03:56 AM, 26 October 2014
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