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Sang Woo Kang
American Record Guide, March 2019

Clementi comes alive in this fantastic recording. Any good interpreter of Clementi needs a light yet expressive touch, and Chaplikov certainly has that. Op. 33:3 is played with perfect timing and phrasing and the right amount of sentiment. The presto (III) really moves. It almost sounds like Beethoven sometimes— profound and narrative-oriented. Op. 46 is a delight, with the dexterity, the perpetuity, the movement, and the sheer drama. But best are Chaplikov’s rendering of the slow movements, which are breathtakingly beautiful. It all sounds simple but is full of expression and careful treatment of the musical material.

Another authoritative recording for Clementi scholars and fans. © 2019 American Record Guide

Alex Baran
The WholeNote, December 2018

Clementi’s writing is masterful for its precision and technical requirements. Chaplikov’s keyboard technique is utter perfection and delivers clear articulation of Clementi’s rapid-fire melodies as they tear across the keyboard. © 2018 The WholeNote Read complete review

Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, October 2018

If you listen closely to these works you might find as I did that we should probably included these examples among the very cream of Classical Era sonatas, along with those of Haydn, Mozart, CPE Bach, early Beethoven and Schubert and perhaps now we may also add Kozeluch and, perhaps Czerny but I must hear more of his.

…These sonatas are uniformly well wrought, melodically inventive in the most freshening and refreshing of ways, and accordingly a beautiful listen when you need a change of pace. And who doesn’t? © 2018 Gapplegate Classical-Modern Music Review Read complete review

Ralph Graves
WTJU, September 2018

Stefan Chaplikov plays elegantly, and with a light touch. The rapid passages flow smoothly and seemingly without effort. Chaplikov favors soft rather than loud dynamics, but that’s in keeping with the music. If you like Mozart and Haydn piano music, you should enjoy this release as well. © 2018 WTJU Read complete review

Norman Lebrecht
Ludwig Van Toronto, August 2018

Stefan Chaplikov, Bulgarian born, plays a modern piano of unstated provenance at the Yale University recital hall. It’s a bit brittle at the outset but the era quickly adjusts and you can soon see why Clementi was the toast of London in Napoleonic times, earning himself a tomb in Westminster Abbey and a plaque next to my favourite Kensington restaurant. © 2018 Ludwig van Toronto Read complete review

David Denton
David's Review Corner, August 2018

Naxos continues its traversal of the keyboard sonatas by the Italian composer, Muzio Clementi, written in the second half of a life spent in an adopted England. By then he was becoming wealthy having created a thriving publishing house and a business producing keyboards. That financial security did not, however, effect his desire to compose a prodigious amount of music, but as this ran concurrent with Haydn and Mozart, it was almost inevitable that his output fell into total obscurity on his death in 1832. Yet, when he was at his most inspired, as in the two sonatas from opus 33, he was producing works of considerable value, and of technical demands that would attract virtuoso performers. Certainly the multitude of notes that shape the delights of the first movement of the Third will capture your attention. Towards the end of his life, as in the Opus 46 from 1820, he went in search of the weight and gravity of an early Beethoven Sonata. He fell well short, but it was a score that has much to commend it, though it does not gain anything from leaving the first movement’s Allegro con brio sounding breathless as we have in this release. In modern times Clementi had found a dedicated and ideal champion in the American, Susan Alexander-Max, her death making her inspired performances on Naxos very difficult to follow. I don’t think we have now found that person in the Bulgarian pianist, Stefan Chaplokov, despite his nimble fingers and obvious virtuosity. Good sound quality from America’s Yale School of Music. © 2018 David’s Review Corner

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