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Marc Medwin
Fanfare, July 2020

The dialogic passages transitioning between exposition themes is handled with such brilliance that the joy of music-making is infectious, the notes leaping out of the speakers. Conversely, the slow movement, which would reappear a decade later, radically reworked, as the analogous movement of Beethoven’s First Piano Sonata. Here, it is played with the moment-to-moment depth and intimacy for which a period instrument group is especially suited.

…This is a disc that brings new life to some of Beethoven’s earliest compositions. © 2020 Fanfare Read complete review

John Dutterer
American Record Guide, May 2020

Leonardo Miucci’s piano sound is therefore akin to a fortepiano, and there is charm and grace in it.

…Quartet 1 in C is otherwise lively and simple, especially in III; and the musicians give it a Mozartean playfulness rather than proto-romantic rambunctiousness.

The ambitious 28-minute Quartet 3 in D is played well… © 2020 American Record Guide Read complete review on American Record Guide

David Threasher
Gramophone, April 2020

An Italian foursome led by the pianist Leonardo Miucci offer the quartets for the first time on period instruments. Both are finely done, and only the choice of instruments or the added repertoire might sway your choice. If, indeed, these accomplished if anonymous works of a 15-year-old are how you wish to continue your Beethoven celebrations this year. © 2020 Gramophone Read complete review on Gramophone

Records International, February 2020

These three-movement quartets from 1785 naturally stand stylistically not far from Mozart’s own works in the genre (also from the mid 1780s). You’ll also hear themes here which were later used in the piano sonatas of op. 2. First recording of these works on period instruments. © 2020 Records International

Lark Reviews, January 2020

It is difficult to accept that Beethoven was only 15 when he wrote these splendid works. While they lean on earlier models they constantly surprise by a new idea, a new unexpected twist. As such they are more than a match for later compositions and a delight to have here. The third quartet produces a melodic line which would eventually reappear in the Eroica! © 2020 Lark Reviews

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