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Stephen Estep
American Record Guide, March 2016

The sound here is clean and clear. The Trio Vega is elegant and competent… © 2016 American Record Guide Read complete review on American Record Guide

Jed Distler
Listen: Life with Classical Music, September 2015

…Trío Vega’s splendid advocacy for these obscure yet unquestionably first-rate works warrants an enthusiastic recommendation. © 2015 LISTEN: Life with Classical Music Read complete review

Jed Distler, August 2015

…superb performances… [Trio Vega’s] full-bodied yet carefully balanced interpretations take the specificity of the composer’s dynamic and expressive markings on faith, while leaving plenty of room for personal nuance, such as in cellist Orfilia Saiz Vega’s rich-toned solo work in both trios’ slow movements. One also should mention violinist Marc Paquin’s discreetly varied vibrato and Domenico Codispoti’s adroit handling of Martucci’s often demanding piano parts.

Needless to say, Trio Vega’s splendid advocacy of these obscure yet unquestionably first-rate works warrants an enthusiastic recommendation. © 2015 Read complete review

David Denton
David's Review Corner, July 2015

Six years ago Naxos gave us the complete symphonies of Giuseppe Martucci, a composer more famous as a conductor who introduced so much music in Italy. His student days were as a young virtuoso pianist, though he also spent time studying composition with Paolo Serrao, and it was the Austro-German style he communicated that was to be Martucci’s defining influence. Yet that part of his life became of secondary importance when, at the age of twenty-five, he became the founding conductor of the Orchestra Napolitana. With this fine ensemble he introduced to Italy a whole swath of European music, including the Italian premieres of Wagner’s operas. As a composer he came to prominence in 1877 with a Piano Quintet that became part of a handful of chamber music scores that was to include two Piano Trios of substantial length. Their parentage came from Brahms, though Martucci was obviously gifted in creating four-movement works in this genre. Thematically he had a great deal to say, his melodic material being both pleasing and instantly memorable. He had also mastered the craft of using all three instruments without anyone becoming the dominant voice, and in that respect was rather more successful than Brahms. Indeed I am tempted to say that the Second—the more immediately attractive—deserves a place in the standard repertoire in the place of the popular trios from that period. Much of this favourable opinion does come from the performances by the Trio Vega, their warm and beautiful tonal quality so ideal for the music. © 2015 David’s Review Corner

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