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Uwe Krusch
Pizzicato, May 2017

Peter Maxwell Davies’s violin chamber works reunited on this disc form one appealing program intensely played by very talented musicians. © 2017 Pizzicato

Jack Sullivan
American Record Guide, May 2017

…Duccio Ceccanti and pianist Matteo Fossi get to break out of nontonal abstraction and strut their stuff. © 2017 American Record Guide Read complete review on American Record Guide

David Kettle
The Strad, April 2017

Maxwell Davies wrote his 2013 Sonata for Violin Alone for Ceccanti, and the violinist’s performance here is breathtaking: forthright in Maxwell Davies’s almost rhetorical gestures, yet beguilingly lyrical in the composer’s sideways shifts into tonality. It’s an immaculate, impeccably articulated performance, vividly characterised, and given even more presence by the very resonant acoustic of its recording venue, the Museo di Santa Croce in Umbertide.

For the 2008 Violin Sonata, Ceccanti is joined by eminent Italian pianist Bruno Canino, and together they expertly trace Maxwell Davies’s fascinating interplay between their two instruments—sometimes accompanying each other, at other times jostling for attention. …Recorded sound, while varied between the pieces, is warm and generous throughout. © 2017 The Strad Read complete review

Stephen Barber
MusicWeb International, March 2017

The team here are all Italians, with whom Maxwell Davies worked closely. The lion’s share is taken by the violinist Duccio Ceccanti, who plays in all the works and for whom the solo sonata was written. His playing is technically immaculate and also very expressive: there is none of the cold objectivity which one can find with some performances of contemporary music. The two pianists provide fine support. A special word should go to the cellist Vittorio Ceccanti who plays only in the piano trio, but who is thoroughly familiar with the idiom from having previously recorded several of the composer’s works. © 2017 MusicWeb International Read complete review

Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, March 2017

Duccio, pianists Matteo Fossi and Bruno Canino, and cellist Vittorio Ceccanti give us their sensitive and considerable all for a remarkable reading of these very intimate and revealing later works.

Modern chamber music enthusiasts and Maxwell Davies devotees no doubt will be captivated with this program as I am. But really there is beauty and accessibility for nearly everyone with the added challenge of very modern expression to brace our listening selves and provide a fabulously contrasting diversion.

Very recommended. © 2017 Gapplegate Classical-Modern Music Review Read complete review

Bruce Reader
The Classical Reviewer, March 2017

Sonata for Violin Alone (2013) is one of Max’s last works; first performed at Teatro Piccolo Arsenale in Venice by its dedicatee the violinist Duccio Ceccanti who gives here the World Premiere Recording.

This is a quite wonderful work from this great composer’s final years, brilliantly played by its dedicatee. The recording is clear and vibrant despite being recorded in a large acoustic.

This new release brings some wonderful chamber works in performances that could not be bettered. The last three works receive excellent recordings in warmer acoustics. © 2017 The Classical Reviewer Read complete review

John France
MusicWeb International, February 2017

The performance of all these pieces is excellent. …The recording is superb.

All fans of Max will require this CD. It is one of the most satisfying discs that I have heard in a while. Surprisingly, the work I considered was going to be the most problematic (the solo sonata) turned out have impressed me most. © 2017 MusicWeb International Read complete review

Kate Molleson
The Guardian, January 2017

The violinist on this recording is the fantastically ardent Duccio Ceccanti, with his cellist brother Vittorio, fond of big gestures, and the pianists Bruno Canino and Matteo Fossi. The disc opens with the Sonata for Violin Alone (2013), which Ceccanti plays with a deeply personal conviction and untethered flair hard to imagine from anyone else. Recorded in a massively resonant town hall in Perugia, the single 20-minute elegy feels improvisatory, austere, questioning, resolute. © 2017 The Guardian Read complete review

David Denton
David's Review Corner, January 2017

Peter Maxwell Davies was not a compulsive chamber music composer, the present release seeming to include most, if not all, of the works written for the solo violin. In my small corner of the world we enjoyed his patronage of our local chamber music festival for whom he wrote his last works, and just before that period came the Solo Violin Sonata for the soloist on this disc, Duccio Ceccanti. At times he was both an abstract and abrasive composer, but here is a work you can love from the long and peaceful cantilena that opens the score; through the multi-colours of the one-movement’s central section, to the repose of a person awaiting his untimely death. ‘Max’ was a chameleon-like personality, the children’s opera The Two Fiddlers, being a score of simple and readily attractive music, and here, after two transformations, we arrive at a version for violin and piano. Completed in 2008, the Sonata for Violin and Piano moves into his world that owes much to the Second Viennese School, its austerity and atonality including fleeting moments of melody. Finally the most extended score—the Piano Trio—was a response to his visit to the remote and small Fair Isle in the Outer Hebrides, there to attend their annual music festival. Greatly taken by the enthusiasm of the seventy-odd inhabitants, he wrote this twenty minute work that views music through this wind-swept desolate place. Into that scenario comes a haunting Scottish folk-like passage for solo cello, and here played in peaceful repose by Vittorio Ceccanti. In a mix of outstanding studio and concert recordings, the disc is one of the finest Maxwell Davies releases I have encountered, not least from Bruno Canino’s piano playing in the Sonata. © 2017 David’s Review Corner

Records International, January 2017

The two dances, adapted from a children’s opera, are an example of the endearingly light, folksy side of the thorny modernist’s output, while the trio is one of his depictions of the solemn wilderness of islands and seascapes around his home in the Orkneys, based on a plainchant and containing folk music allusions. © 2017 Records International Read complete review

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