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Bradley Lehman
American Record Guide, November 2016

Alexander-Max plays all of these with great technique and drive, bringing out expressive nuances as appropriate. Mozart would have been pleased with playing like this. © 2016 American Record Guide Read complete review on American Record Guide




Early Music Today, September 2016

Susan Alexander-Max exploits every operatic twist and turn in this vivid account of emotional turmoil and reflection, transporting the listener into a constantly changing world of musical colour. The lighter op. 1 no. 3 in G written during Clementi’s formative years in Dorset helps to diffuse the intensity created, and re-establishes late 18th-century grace and charm. © 2016 Early Music Today



David Denton
David's Review Corner, June 2016

At the age of thirteen, the Italian-born Muzio Clementi came to England, and though in his young years travelled around Europe, it was in London he made his career. There he was to win considerable fame as a keyboard exponent both in the concert hall and as a teacher. He was no less active as a composer, and though he had Mozart and Haydn as his formidable rivals, his own publishing house ensured a wide dissemination of his scores. That business was expanded into the production of pianos, and this allowed him to explore the tonal colours the developing keyboards could produce in his music. Sadly, it was to no avail, for by his death in 1832, his output, basically written in a style of yesteryear, was already sliding into obscurity. The present disc, the fourth in a projected series of his complete sonatas, covers his creative life with the third of his opus 1 coming from his teenage years, through to his last published work, the opus 50. Certainly the short two-movement sonata is just a piece of youthful charm, though he had not changed that much by the age of 28 with his opus 8. The third of his opus fifty—whose three movements extend to more than half an hour—moves into a more sophisticated world, the density of writing bringing a warmth of texture missing in those early works. Clementi could certainly never ask for a more dedicated champion, Susan Alexander-Max having moved from the concert pianist circuit in 1996 so as to dedicate herself to period instrument performances. Here she plays a modern reproduction fortepiano with nimble fingers and a freedom of expression that breaths life into the music. Sadly this will be the last in her series, her sudden death coming a few months after she completed this album. If you want to sample the music try track 3, the Rondo finale to the opus 11 sonata, its quick and lively atmosphere showing the music at its best. © 2016 David’s Review Corner





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