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Johan van Veen
MusicWeb International, July 2017

The plainchant used in this recording is taken from a Graduale published in Venice in 1525. It is performed according to the the then “prevailing mode of performance of the neumes” which was mensural, and divided into three values: longa, brevis, semibrevis. These aspects contribute to the high degree of authenticity of this recording. Obviously an even more important factor is the use of the organ Cavazzoni played himself, in the Basilica di Santa Barbara in Mantua. A notable feature of the instrument is its ‘enharmonic keyboard’ which means that some chromatic keys are split, making it possible “to overcome the limits of the tuning ‘in pure thirds’ that was customary in the fifteenth and sixteenth centuries, and offered sounds that were valuable for achieving a perfect harmony even in the boldest modulations, and above all for transposing vocal pieces”.

All these factors result in a brilliant interpretation which carries the listener to the time Cavazzoni created his masterful organ music. Ivana Valotti is a very fine player who feels completely at home in this repertoire. Gianluca Ferrarini deserves much praise for his performance of the plainchant. © 2017 MusicWeb International Read complete review



Catherine Moore
American Record Guide, March 2017

Ivana Valotti plays the 1565 organ, built by Antegnati in the Basilica Palatina Di Santa Barbara in Mantua, restored 1995–2006 by Giorgio Carli. She plays with confidence, complete command of the range of registrations; the phrasing is fluid and singing, and the meantone keyboard temperament animates the harmonic richness of the compositions. Tempos are all well chosen to “play” the church as well as the organ. Dancelike imitative sections are spritely, ricercars and canzons bold and stately, calm passages invite reflection. © 2017 American Record Guide Read complete review on American Record Guide



Christopher Nickol
Gramophone, January 2017

Ivana Valotti’s fine performances are characterised by lively articulation and extremely flexible tempos. She makes full use of the colourful and beautiful 12-stop 1565 Antegnati organ. Although freedom of tempo may be historically appropriate, some listeners may find Valotti’s flexibility a little wearisome. Her phrasing is also rather crisp and clipped, giving the impression of breathless excitement. This would all work well on a harpsichord in a drier acoustic, but on an organ in a larger space steadier tempos and a calmer approach would be more satisfying. © 2017 Gramophone Read complete review on Gramophone





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