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Peter Burwasser
Fanfare, July 2019

Naples-born pianist Sandro De Palma does an excellent job of conveying the stylistic journey that this range of music presents, from the crisp Classicism of the early music to the dreamy proto-Romanticism of the late work. … This is an illuminating portrait of Clementi, highly recommended for those seeking an introduction to his music, via superbly controlled playing and good sound. © 2019 Fanfare Read complete review



Alan Becker
American Record Guide, July 2019

Naxos, never to be outdone by other record labels, continues to entrust its Clementi series to a host of different pianists and even includes several on fortepiano. Italian pianist De Palma performs his selection on either a Kawai or Yamaha. There is never any question about his technical ability, and there is some terrific expressive playing, with crisply executed embellishments. © 2019 American Record Guide Read complete review on American Record Guide



Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, March 2019

Sandro De Palma plays the sonatas with a bravura and an alternating tenderness that helps us along considerably in assessing and smiling over what there is to hear on these four gemful essays and our subsequent essays. It is a happy meeting of composer and performer and we the listeners most surely are the benefactors. Clementi is never out of ideas and the musical ideation is on a high level no matter how basic or involved the inventions.

I must recommend this strongly. It is something to bring you a little joy I would hope. I am smiling myself as I listen again. © 2019 Gapplegate Classical-Modern Music Review Read complete review



Stephen Pettitt
The Sunday Times, London, January 2019

The excellent De Palma, playing a modern instrument, shows how much Clementi, disparaged by Mozart, lauded by Beethoven, moved with his times. He frames two early sonatas (Op1, No 3, written when Clementi was just 19, and the fecund Op 8, No 2, of 1782) with two of his final examples, Op 50, Nos 2 and 3 (“Didone abbandonata”), published in 1821. Beethoven these aren’t, but they run deep, thrillingly exploring idiom and aesthetic. © 2019 The Sunday Times, London




iClassical, January 2019

…These are highly enjoyable works that show Clementi’s development as a composer for the keyboard. They are well performed and the recording allows one to fully appreciate Sandro De Palma’s excellent pianism. Well worth exploring and adding to your collection. © 2019 iClassical Read complete review



Ralph Graves
WTJU, January 2019

De Palma makes the most of these late sonatas, playing forcefully and in full command of his instrument. A well-thought-out program executed brilliantly. © 2019 WTJU Read complete review



David Denton
David's Review Corner, January 2019

As Muzio Clementi is credited as having written over a hundred piano sonatas and sonatinas, Naxos will have a long way to go in offering the first complete recording. Though born in Italy, it was in London that he accrued his vast wealth, having created a thriving music publishing house and a factory producing the latest version of the piano. Such financial security only added to his desire to compose, particularly for the keyboard that had been the focus of his teenage studies. The sonatas were written throughout much of his long life, the earliest originally described as Sonatinas, and, as we hear in the Third of his first opus, they were intended for those of modest attainments. In two movements it was published in 1771, though probably written much earlier, and was a work any competent kapellmeister could have written on a wet Sunday afternoon. Thirteen years later the mature composer had entered the world of early Haydn, and was very adept in finding good thematic material. The massive leap forward to Opus 50 finds an altogether different composer who had now fully integrated the changes Mozart had brought about to the history of music, his writing more structurally complex and far more demanding of the performer. The highly charged outer movements of the Third of the group, carrying the name ‘Didone abbandonata’, reaching forward to the era of Beethoven. The disc is performed by the Italian-born Sandro De Palma, a long career having taken him around the world, his spotlessly clean playing greatly helping Clementi’s cause, and the sound quality is most pleasing. © 2019 David’s Review Corner





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