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Benjamin Katz
American Record Guide, March 2012

Galuppi’s keyboard sonatas may seem to be composed squarely in the cliches and conventions of the Galant style. Under that surface lies Galuppi’s highly distilled personal rhetoric, full of drama and imagination. Napoli employs a great deal of variety of touch and articulation to penetrate the inner workings of these sonatas. His melodic right-hand playing is relaxed, simple, and elegant…The cover art, a lovely photo of a Venetian Lagoon in Burano, Galuppi’s hometown, is a splendid visual complement to Galuppi’s sonatas. © 2012 American Record Guide Read complete review on American Record Guide online

Bertil van Boer
Fanfare, March 2012

these works show that Galuppi was cognizant of the evolution of style during his life and used it to best advantage.

[Pianist Matteo Napoli’s] playing is always finely nuanced, with expressive details emerging even during the most mechanical sequential passages. The works…seem to fit quite well on the modern piano… © 2012 Fanfare Read complete review on Fanfare

MusicWeb International, December 2011

Galuppi’s voice is original, his musicianship masterly and mellifluous. Sonata after Sonata brims with elegant melody and fluent invention, varied, graceful and rewarding, and unblighted by bravura for its own sake. It comes as no surprise that it was not only his opera music that was in great demand. The memorable Sonata in D, one of Galuppi’s best, brings Napoli’s splendid programme to a sparkling end. © 2011 MusicWeb International Read complete review

Giv Cornfield, PhD
The New Recordings, Cliffs Classics, November 2011

A thoroughly delightful album from start to finish. The music often brings to mind Scarlatti—although these are fully-formed, mostly three movement works, even if mostly on the short side. They predate Mozart and Haydn, but abound in melodic inventiveness and lively, good humour that serve as the vehicles for Mo. Napoli’s sparkling virtuosity, in an ideal acoustical setting and a great-sounding Steinway-D grand piano.

David Denton
David's Review Corner, November 2011

Composer, virtuoso of the keyboard, and theatre director, the Italian-born Baldassare Galuppi must have led a hectic life. We now hear little of his vast output, but his elaborate funeral in Venice gives proof of the high regard in which he was held. It is difficult to quantify his catalogue of compositions as he travelled extensively—spending some years living in England and Russia—and seemingly leaving behind manuscripts that have eventually turned up across much of Europe. Of his known keyboard sonatas there are presently around 130, this second disc, in an invaluable cycle, offering seven. Galuppi owes much to the influences of Domenico Scarlatti who was twenty-one years his senior—Galuppi having been born in 1706—and he followed Scarlatti by writing sonatas in two or three movements, and often containing two fast movements. He certainly had an ability to write attractive melodic material, tracks 4 & 5 being a good place to sample some catchy tunes. We certainly have little idea of the order of composition, or whether he composed them throughout his life, but you feel that the C minor sonata (tracks 6 to 8) were mature and late work that point to a familiarity with Haydn’s sonatas composed at much the same time. The distinguished Italian pianist, Matteo Napoli, plays with that crisp articulation that shows his thoughts are with the harpsichord that Galuppi would have used. Still these are highly persuasive performances that I can commend, in quite reasonable sound.

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