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Jerry Dubins
Fanfare, July 2018

Guitarist Marcello Fantoni deserves credit for being willing to go where few, if any, celebrities of the guitar world have gone before. One searches in vain for Segovia, Yepes, Lagoya, Parkening, Bream, the Romeros, or John Williams, yet as far as I can tell, none of them considered Legnani worth their time or effort. …These works are very, very, difficult, so the time and effort to learn and master them must be considerable. © 2018 Fanfare Read complete review



Kenneth Keaton
American Record Guide, May 2018

…we must thank the truly excellent Fantoni. He has a sparkling, flawless technique—no passage seems stressed; all are tossed of with effortless ease. And he no longer has the problem with overplaying I found in his earlier release—and that was rare then. His tone is beautiful, his dynamic and timbral range impressive, and his grasp of the style is impressive. Lovers of the guitar’s Golden Age will welcome these recordings with enthusiasm. © 2018 American Record Guide Read complete review on American Record Guide



David Denton
David's Review Corner, February 2018

Having become a leading European guitarist in the 18th century, Luigi Legnani had to compose the type of works that would fully display his virtuosity to his audiences. His main problem was, quite simply, that he was not the world’s most gifted creator of melodic invention that would find its way into the memory of his listeners. So very soon after his death, in 1877, his music died with him. That probably would have been the last we heard of him had it not been for today’s abundance of outstanding performers who are looking for technical showpieces. Even when Legnani found a likeable melody, such as the one from Giovanni Paisiello’s opera La molinara, his variations often lasted but a few seconds, the present release having no fewer than fifty-nine tracks. Yet you have to admire the performers who are attempting such finger-knotting difficulties, and here we have the Italian, Marcello Fantoni, who seems most happy when the score is black with notes. At times rhythms have become defined by the complexities he faces, but who could criticise him for that when faced with such pieces as the Gran Ricercario, or the weighty textures of the Gran Capriccio. All the works date from the six years commencing in 1819 when Legnani was twenty-nine and setting-out on his career as a touring concert artist, having started life as an opera singer. As I commented when reviewing a previous Legnani release, the further you go into his sizeable output, the more you will find it all sounds the same. So best to try it a few tracks at a time, and then you can thank Fantoni for his dedication in giving us this complete disc of ‘World Premiere Recordings’. © 2018 David’s Review Corner





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