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Daniel Coombs
Audiophile Audition, May 2017

Truth be told, I was not really enthralled with any of the pieces herein but I was also pleasantly surprised that the overall effect and the mesh of these two seemingly disconnected timbres was actually pretty entertaining. Compliments to all the composers here for scoring the music for the voices on organ and the exact saxophones (soprano and alto) whose partials and timbres sound almost ‘organ-like’ Giacchetti and Di Marco are both very fine players and this repertoire relies mainly on tone quality and melody rather than on the hypertechnical—I think for the better. © 2017 Audiophile Audition Read complete review

Dan Morgan
MusicWeb International, September 2012

Massimo Giacchetti studied at the Pescara Conservatory, has his own quartet and has won a number of national and international awards for his sax playing. Manuela Di Marco, also a Pescara graduate, has attended master classes with several distinguished organists; in this recording she plays the organ of Chiesa di Sant Alessandro, in the Italian province of Lecco. The duo start off with Hommage à Saint-Hadelin, by the Belgian composer André Lamproye. Although outwardly a serious piece—apparently this saint is much revered in the Belgian diocese of Namur—it’s full of bounce and good humour.

Indeed, this infectious opener had me grinning from ear to ear, such is the charm of the piece and the enthusiasm of these two artists. Giacchetti’s playing is simply astonishing—clear, athletic and, above all, full of character. The movements alternate between simple gravitas and unbridled joy; as for the warm, generous sound of the organ it’s perfect for the piece—and superbly caught as well. The Dynamic engineers have come up with an ideal balance; the high, ringing tones of the sax are as naturally rendered as the quiet, more liquid ones. Goodness, what a heart-lifting piece this is, and how these players make it sing.

After almost wearing out the repeat button I had to move on—somewhat reluctantly—convinced that nothing else would please me as much as this. Well, I was wrong, for there’s not a dud work in this collection. Trois Mélodies grégoriennes, by Guy de Lioncourt, a French composer and pupil of d’Indy, has an austere beauty that ravishes the ear. This is sax playing of a high order, and it’s complemented by Di Marco’s discreet accompaniment. As for Sonate I, by the Québécois organist-composer Denis Bédard, it’s both ebullient and reflective.

Ludium I-III, penned by the Austrian composer Alarich Wallner, isn’t as dry as its title might suggest. It has a lovely, rhapsodic feel—and an occasionally piquant organ part—and the wistful conclusion to I is just magical. Nothing seems to faze this duo, and the sense of shared enjoyment is palpable throughout. Happily, the quality of these pieces is just as consistent; the last two compositions—by Italians Giorgio Paris and Italo Di Cioccio—are contemporary but they’re utterly accessible. Remarkably, Giacchetti and Di Marco sound fresh and spontaneous to the very end.

What an unexpected treasure trove this is, and how deserving of your precious time and money. The liner-notes are lucid and idiomatically translated too, which makes for a most desirable issue.

Simply gorgeous; a guaranteed pick-me-up. © 2012 MusicWeb International Read complete review

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