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Julian Haylock
The Strad, October 2013

…Emy Bernecoli boasts an unusual musical rapport with her long-established musical partner Massimo Giuseppe Bianchi (also a gifted composer). This is music that is by its very nature interpretatively elusive, yet this fine duo succeeds in exploring Ghedini’s introspective sound worlds with remarkable unanimity of spirit, most notably at the lower end of the dynamic spectrum. Bernecoli sounds as though she’s been playing these wonderful pieces all her life, without the slightest hint of their being (mostly) world premiere recordings. © 2013 The Strad Read complete review

Remy Franck
Pizzicato, October 2013

Both interpreters are sworn by hundred percent on each other and play devotedly, with gripping expressiveness in the more introspective as well as in the fervently virtuoso movements. A convincing plea in favor of a repertoire deserving to be discovered. © 2013 Pizzicato

Jed Distler
Gramophone, September 2013

Following up his two-volume survey for Naxos of Ghedini’s complete piano music, Massimo Giuseppe Bianchi and his duo partner Emy Bernecoli now turn to this undervalued composer’s works for violin and piano, which include three world premiere recordings. The opening Bizzarria is a nearly-four-minute lyrical vignette featuring subtle neo-impressionistic chords and lovely long sustained passages using harmonics. A newly unearthed three-movement Sonata in A major…easily holds its own in the company of Respighi’s better-known work in the same genre, especially in the imaginative, unclichéd use of pentatonic phrases and runs, and the beautiful slow movement’s…long-lined restraint. The Due Poemi are dark, introspective works, where darting, rhapsodic violin lines contrast with the often low-lying, chord-based piano parts. In the second of the two pieces, the piano takes up the main melody in an agitated central section featuring obsessive repeated-note figures. Should these works enter the repertory, prospective performers will find themselves having to measure up to the Bianchi/Bernecoli duo’s impassioned, technically polished and rhythmically rock-solid interpretations.

Superb recorded sound and informative annotations by Flavio Menardi Noguera further enhance an unusual, welcome and valuable disc. And let’s hope that Naxos has further plans for these gifted and fervently committed musicians. © 2013 Gramophone Read complete review on Gramophone

Elaine Fine
American Record Guide, September 2013

The playing is excellent, and it is very well recorded. I particularly enjoy the sound of the Fazioli piano. © 2013 American Record Guide Read complete review on American Record Guide

David Denton
David's Review Corner, May 2013

Born in 1892, Giorgio Ghedini’s career fell betwixt his desire to be a pianist, composer and conductor, and is today little remembered for any of them. As a composer he was particularly active in the world of piano music, much of which has been recorded by Naxos, the present disc containing his complete output for piano and violin. Here, writing in a style that has its roots in French Impressionism, his music is totally isolated from the dramatic musical happenings taking place around him, his score purely tonal and rich in pleasing melodic invention. I find his Violin Sonata from 1918 certainly worthy of a place in the repertoire, the opening movement being particularly beautiful. Where he falls short comes with his lack of dynamic and rhythmic contrasts, too much of it being slow and falling within a pleasing mezzo-forte. He can at times sound meanderingly pleasant, particularly in the two soft grained Due poemi, its style totally at odds with other music composed in the 1920s. It is when we reach the 1922 Violin Sonata that we at last find him in a more proactive mood, with two vigorous movements surrounding a central slow and romantic doloroso. Massimo Bianchi—who is recording the composer’s piano works for Naxos—has a role throughout the disc that is on a parity with the violin, and he is most persuasive. …the release offers recordings of world premiere status. © David’s Review Corner

Cesare Fertonani
Amadeus (Italy)

Amongst the most original and less performed composers of the Italian 20th Century there is doubtlessly Giorgio Federico Ghedini. Even his once most performed works “Partita” (1926), “Architetture” (1940) and above all “Concerto dell’Albatro” (1945) have gone out of usual concert programmes.

Ghedini’s musical quality and inventiveness can be fully comprehended in this recording featuring the two “Sonate” (1918 and 1922), “Bizzarria” (1929) and “Due Poemi” (1930).

Emy bernecoli and Massimo Giuseppe Bianchi offer clear and captivating interpretations with intention, very flexible in bringing to light the refined work of a writing which reveals multiple perspectives and never fails to surprise. This is especially clear in the two “Sonate”, facing each other as works complementing each other (furthermore, the 1911 “Sonata in E Flat Major” shows a stronger virtuosic element compared to the one on 1918 A Major Sonata).

The performances show clearly the musical formal construction, always most accurate, the melodic suggestions whose lyrical value touch different inflexions including a more relaxed cantabile feel (for instance in the second of the “Due Poemi”), contrapuntal articulations and the richness of the harmonic language with an admirable dedication towards the most intimate reasons of Ghedini’s music”. © AMADEUS (Italy)

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