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Jérôme Bastianelli
Diapason, July 2016

The Trio Pangea, with whom we find the pianist Bruno Belthoise, champions these three pieces with remarkable fervor and penetrating timbre. © 2016 Diapason

Gil French
American Record Guide, July 2016

The best music and performance here is of the last work on the album, the Hukvaldy Trio by Sérgio Azevedo. It’s based on 1912 piano fragments by Leoš Janáček. Janáček’s distinct melodic and harmonic contours really do define the stylistic character of this one-movement 20-minute highly dramatic work. The writing is so strong and eloquent for the violin, cello, and piano that each of them is consistently interesting, while blending together perfectly. © 2016 American Record Guide Read complete review on American Record Guide

Raymond Tuttle
Fanfare, July 2016

…Trio Pangea is a solid ensemble with a unified artistic vision, and they find the unique character in each of these works. They make an excellent case for this music, with performances that are capable and communicative. Recommended. © 2016 Fanfare Read complete review

Philip R Buttall
MusicWeb International, June 2016

Naxos has chosen the repertoire carefully for its debut issue of Portuguese Piano Trios, superbly played by Trio Pangea, with a recording quality to match. © 2016 MusicWeb International Read complete review

Bob McQuiston
Classical Lost and Found, April 2016

The Pangea Trio brings together players with French, Portuguese and Spanish musical backgrounds, who deliver terrific performances of these selections. Pianist Bruno Belthoise gives a consummate account of Azevedo’s demanding trio. That’s not to downplay the superb playing of violist Adolfo Rascón Carbajal and cellist Teresa Valente Pereira. © 2016 Classical Lost & Found Read complete review

David Denton
David's Review Corner, March 2016

This first disc in a projected Naxos series of Portuguese Piano Trios, composed in the 20th century, offers a most interesting and rewarding journey into the unknown. We are aware, as the booklet relates, of the symphonic output of a number of Portuguese composers, and we have equally encountered the genre of piano music, but little of its chamber music has ever been documented on disc. That it has a similarity with French music of the period, together with an input of German influences from the end of the 19th century, places it at a disadvantage, as that style is already much oversubscribed. Then we have to place these works in a time context, and accept that in that style they have appeared rather late in the day, the earliest here coming from Claudio Carneyro in 1928. He was musically educated in Paris with Dukas and Widor as his mentors, and then spent much of his time as a teacher at the Porto Conservatory. He was certainly gifted in creating unusual thematic material that immediately grips attention, an introverted Interludio Romanescos moving to a very brief and quirky finale with a Chinese quotation, those two adding up to less than half of the length of the opening movement. Luiz Costa, who enjoyed a career as a concert pianist, having studied with Ferruccio Busoni in Germany, wrote his Piano Trio in 1937 when he was fifty-eight. Its four movements are more conventional both in structure and content, the whole  echoing works from the late 19th century, with a whirlwind scherzo being particularly appealing. Coming forward to the present day with Sérgio Azevedo’s Hukvaldy Trio, completed in 2013, he embraces a tonal modernism that explores unusual textures in a highly attractive score. Maybe a little more air around the sound would have been welcome, the long standing Trio Pangea an ensemble of outstanding quality. © 2016 David’s Review Corner

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