Goldberg (maggio 1999)
...The Sonatori prefer faultless cohesion, rich sonorities, an astounding virtuosity that is always apt; ...There is constant attention to the subleties of the scores, with a succession of unexpected and precise scenes and an impressive art of rhetoric.
Throughout the programme (excellently expounded in the printed note) surprise abound. From the start, the velvet sonorities (the chitarrone....) in a canzone by Rovetta; the astonishing and subtle alliance of the timbres of two violins and a viol in another canzone by the same composer; the antiphonal construction of a trio sonata by Fontana; the imitative brass fanfare of a sonata by Castello; the admirable echo of another sonata for three violins by Marini...
Quotations should be made of all the pieces, which reveal a goldsmith's precision in bowing and which link contrasts with flexibility rather than emphasising the breaks. Each ornament thus takes its place naturally and logically.
The Sonatori do not show off, they speak quite simply, but a language of perfect rethoric.
(Sophie Rougol)