Notes & Reviews:
American Record Guide, January/February 2013
Amosov has done us a service in recording these attractive pieces. He tells us that they were written originally with basso continuo lines, and he has arranged them for piano. They are thoroughly convincing this way. They should be, since they were written in the middle of the classical era when the piano was in and the harpsichord was fast disappearing. They are virtuoso pieces in three movements with a good deal of variety and make very pleasant listening, especially handled with the kind of effortless brilliance shown by Amosov. As a Russian cellist, he doesn't go for the nonvibrato technique but he is obviously having such fun that he disarms criticism from the early-music standpoint.
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