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Bertil van Boer
Fanfare, July 2016

…the Consortium Carissimi, consisting of seven voices and a rather impressive continuo group (including a Baroque trombone), does a lovely job. The vocal portions are clear and well phrased, bringing out the rocking dance-inspired lines that Graziani writes. Their sense of pitch is also excellent, which due to the often close suspensions and dissonances is a must to perform this music. © 2016 Fanfare Read complete review

Johan van Veen
musica Dei donum, June 2016

The Consortium Carissimi deserves praise for bringing the music of Bonifazio Graziani to our attention. These discs are well worth exploring… © 2016 musica Dei donum Read complete review

Michael Wilkinson
MusicWeb International, March 2016

This is a significant disc, and a delight not just for those familiar with the period. Performances are uniformly excellent and recording quality is clear throughout. Individual voices can be heard easily. © 2016 MusicWeb International Read complete review

Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, March 2016

In the end, one is moved, ravished and delighted by these miniature masterworks. It affirms, perhaps even more definitively than the earlier volume, that Gratiani was a fine composer, fully worthy of our appreciation as a master of the concertate style, a creator who holds his own as a singular voice of the period. The Consortium Carissimi gives us readings of world-class depth and attention to detail. © 2016 Gapplegate Classical-Modern Music Review Read complete review

David Denton
David's Review Corner, February 2016

Last November, Consortium Carissimi frequented us with the motets of Bonifazio Graziani, a now totally forgotten 17th century composer of Italian church music. In my review, I sketched his life as having spent most of his years as an ordained priest in Rome, sharing his time between those ecclesiastical duties and that of the maestro di cappella for La Chiesa del Gesu, a position that in itself was of considerable importance. It would have called for an unending flow of music, such as the twelve Cantatas on this disc that would have served as a part of regular services. Such was his importance that he had  his music published, which was, in itself, unusual at that time. Solo cantatas for up to four voices, rather than the larger choral forces, seem to have attracted him, and he was equally to use his cantatas to comment on a whole range of subjects, the present disc opening and closing on the philosophical subject of the fragility of life. The exact date of composition is unknown as they were published posthumously on the instigation of his brother. Sadly two of the opus number have had to be omitted as they would have exceeded the running time of a CD, and, though no explanation is offered, the indexed order has been changed. The American-based Consortium Carissimi do not make any claim to period authenticity, though the flexible sized ensemble use a group of period instruments in support of its singers. There are times when the music seems to have only recently been known to them—apparently they only give three public concerts annually—but they are sincerely presented, Linh Kauffman giving a particularly radient Generoso pensiero. Texts and English translations are available as a download from Naxos. © 2016 David’s Review Corner

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