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Rob Haskins
American Record Guide, January 2014

Orvieto plays all this music effortlessly and handles the stylistic variety with the same assurance. Naxos’s sonics are fine. © 2014 American Record Guide Read complete review on American Record Guide

David Denton
David's Review Corner, July 2013

Born in Brescia in 1922, Camillo Togni became one of Italy’s most progressive composers working in the second half of the 20th century. He had been a composition student of Alfredo Casella, but recalls that in 1938 he first heard music by Arnold Schoenberg, and from therein he embraced all of the doctrines of the Second Viennese School, to which he added the fashionable trend with an element of tonality. The main part of the disc—the first of four that will present his complete piano music—covers his early works for keyboard, beginning in 1944 with the Fantasia, a very active score that retains an element of tonality. Three years later, in the Tre Preludi, he is progressing to the point of total atonality that we hear in the Tre Capricci from the 1950’s. Technically they make considerable demands on the performer—particularly the Tre Preludi—though they are very different demands to conventional virtuosity. Certainly the much experienced Aldo Orvieto, sounds very much at ease with a clarity of articulation that brings cogency to the most complex passages. The disc is completed, a little incongruously, with two transcriptions, the first a literal arrangement of the slow movement from Mahler’s Fifth Symphony played with great beauty by Orvieto. If Togni felt compelled to make that arrangement, I am not sure that there was any need for the Bach which is part of the organist’s repertoire, though, as we hear in the Ricercare, the young composer was much influenced by Bach’s music Very good sound quality. © 2013 David’s Review Corner

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