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Donald R Vroon
American Record Guide, July 2016

[Sergio Gallo’s] playing is lively and attractive, and he planned this program intelligently to present the listener with variety and contrast as well as the flavor of this composer’s lovely music. © 2016 American Record Guide Read complete review on American Record Guide



Myron Silberstein
Fanfare, July 2016

Sergio Gallo exhibits all the technical mastery and musical sensitivity to show these pieces at their best. © 2016 Fanfare Read complete review



Midwest Tape, January 2016

Adolf Henselt developed a breathtaking, idiosyncratic virtuoso technique but stage fright drew him away from performance and more toward composition and then teaching. Sergio Gallo, a Steinway artist, specializes in the repertoire of the Romantic period and presents the works of Henselt on this recording. © 2015 Midwest Tape



David Denton
David's Review Corner, November 2015

Adolf von Henselt is one of those shadowy figures in the world of music, his works admired and acclaimed by the cognoscente, but little know by the world at large. That fact was largely due to stage fright that caused him to disappear from the public for long periods, while those who knew of his performances placed him in the realms of Chopin and Schumann as a poet of the keyboard. Liszt was said to have found his playing reckless in its search of attaining the impossible task of playing widely spread chords with his one hand rather than resorting to the use of the sustaining pedal. Born in Bavaria in 1814, he had created a performing career when he suffered his first breakdown at the age of 22, but he was then to meet and marry the daughter of a Weimer court physician. They moved to St. Petersburg where they were befriended by the Tsar’s daughter, which lead him into Royal circles where he taught the piano and continued to compose. By the age of 40 he had almost totally withdrawn from public appearances, and was helping Anton Rubinstein to establish a Russian school of piano playing. He became quite prolific as a composer of keyboard music, though, as this disc will show, he was essentially a writer of cameos, these short pieces being brought together to form more substantial scores, such as we find in his groups of Etudes. Throughout we have the feeling that Sergio Gallo has developed a great affection for the music, and that he is intent on persuading the listener to join his delight. © 2015 David’s Review Corner





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