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Stephen Francis Vasta
MusicWeb International, November 2016

These are thoroughly fetching accounts of Vieuxtemps’s two most popular concerti. Massimo Quarta produces a vibrant sound that only occasionally turns edgy, filling out the lyric lines with expansive, full-bowed tone, soaring over the full orchestra. Intonation in alt is spot-on…

Quarta also assumes the conducting duties, perhaps overambitiously for these large-scaled scores. He certainly has the musicality for the job, laying out the orchestra-only passages with spacious, open textures and drawing sensitive, nuanced phrasing, especially from the woodwinds. He also knows how to offset the composer’s tendency towards squareness: the strings’ “oom-pah” figures in the A minor’s opening movement, for example, which can plod, are graceful and gently propulsive. © 2016 MusicWeb International Read complete review





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