MusicWeb International One of the most grown-up review sites around   2022
 57,903 reviews
   and more ... and still writing ...

Search MusicWeb Here
Acte Prealable Polish CDs

Presto Music CD retailer
Founder: Len Mullenger                                    Editor in Chief:John Quinn             

Some items
to consider

new MWI
Current reviews

old MWI
pre-2023 reviews

paid for

Acte Prealable Polish recordings

Forgotten Recordings
Forgotten Recordings
All Forgotten Records Reviews

Troubadisc Weinberg- TROCD01450

All Troubadisc reviews

FOGHORN Classics

Brahms String Quartets

All Foghorn Reviews

All HDTT reviews

Songs to Harp from
the Old and New World

all Nimbus reviews

all tudor reviews

Follow us on Twitter

Editorial Board
MusicWeb International
Founding Editor
Rob Barnett
Editor in Chief
John Quinn
Contributing Editor
Ralph Moore
   David Barker
Jonathan Woolf
MusicWeb Founder
   Len Mullenger

Plain text for smartphones & printers

Advertising on

Donate and keep us afloat


New Releases

Naxos Classical
All Naxos reviews

Chandos recordings
All Chandos reviews

Hyperion recordings
All Hyperion reviews

Foghorn recordings
All Foghorn reviews

Troubadisc recordings
All Troubadisc reviews

all cpo reviews

Divine Art recordings
Click to see New Releases
Get 10% off using code musicweb10
All Divine Art reviews

All APR reviews

Lyrita recordings
All Lyrita Reviews


Wyastone New Releases
Obtain 10% discount


Support us financially by purchasing this disc from
see track listing below review
Giorgio Mirto (guitar)
rec. November 2011 and January 2012, Casa Sonora studios, Grugliasco, Italy. DDD.

Imagine a room lit by a fireplace. It is dark, but in a cozy not scary way. The fire dances and the shadows move and form weird images and shapes on the walls. The entire room is filled by the sound of a guitar. This sound is remarkably resonant. Every note seems to create a broad halo around it; these linger in the air and merging create haunting harmonies. The music is not familiar but beautiful. Each piece has a different face and makes a different impression: the many shades of the evening mood.
These are all Nocturnes in that they create a nocturnal atmosphere, but without a nod to Chopin or Field. Actually, musically they are much closer to Villa-Lobos - think, for example, of the Brazilian composer’s five Preludes for guitar. There is no sadness, but a dreamy relaxation: you come home tired, you sit in a comfortable armchair, submerge into the twilight world and watch the play of the shadows. The recording is very close and resonant, which practically puts the listener inside the sound and increases this personal connection.
Giorgio Mirto opens the disc with three Nocturnes composed by himself: apparently, he is an interesting and skilled composer. The three pieces are multi-layered and ballad-like. They evoke a series of images - maybe stories, maybe memories. There are stimulating harmonic progressions and memorable motifs, but above all, there is music, which goes beyond the simple building blocks of melody, rhythm or harmony.
This is also true of other works on the album. Most pieces are painted in a cold and dark palette. After Torresan’s bittersweet Notturno come two pieces by Manca, each sad and a little depressive. Di Salvo’s Penelope beautifully conveys the feeling of long sleepless waiting. Ninna nanna a Donegal is a luminous lullaby, full of love. The melody and the accompaniment are simple and endearing. La colline di Karen is a slow, atmospheric, Debussian half-waltz.
Albini’s Corale is all about harmony. With its nervously throbbing pulse, it could be one of Bach’s WTC preludes. From Pujol we have a sad, fado-like song, static and reflective. Lasala’s Nocturno brings us to the same night garden where Debussy has walked in the moonlight. All is quiet - all is good. The music swings slowly, like a leisurely pendulum.
Rózsa’s Valse crepusculaire is a dreamy, wistful waltz, with an instantly memorable melody. It creates thoughts about sitting near a campfire in the night woods with the smoke rising to the tree tops. The sparks fly and fade, and there’s a vast brooding presence. Finally we arrive at York’s Into dark. We are sleepy and so is the music. The fire is dying in the fireplace, the cinders glow, the darkness quietly and comfortably comes closer. We’ll go to bed now, and all will be good. The music calmly fades away.
The performance is inspired. Mirto applies light rubato very naturally, and his dynamic gradations are well calculated. His touch is soft yet strong, and his manner of sound-producing is truly singing. The guitar’s voice is sonorous, without the wooden dryness. There are no micro-delays in front of difficult chords. My only complaint is about the occasional extra-musical sounds produced when the guitarist moves his fingers along the strings - these little shrieks and squeaks and hisses are annoying. They are not too distracting, yet noticeable. The sound is very full, sometimes organ-like. The acoustic fullness and closeness creates the impression of almost touching the strings.
This is a lovely disc. Trying to put it into “background” mode regularly failed: I dropped the stuff I was doing and sat to listen. When it was over, the “Repeat” button was always there to help. 

Oleg Ledeniov 

Track listing
Giorgio MIRTO
Three Nocturnes [15:27]
Livio TORRESAN (b.1956)
Notturno [5:02]
Roberto MANCA (b.1963)
Notturno No.3 [4:14]
Ulisse [2:46]
Rosolino DI SALVO (b.1970)
La notte di Penelope [5:33]
Giorgio SIGNORILE (b.1962)
Ninna nanna a Donegal [4:41]
La colline di Karen, notturno africano [4:16]
Giovanni ALBINI (b.1982)
Corale No.45, notturno [5:37]
Máximo Diego PUJOL (b.1957)
Nocturno [4:09]
Angel E. LASALA (1914-2000)
Nocturno [3:48]
Miklós RÓZSA (1907-1995)
Valse crepusculaire [4:25]
Andrew YORK (b.1958)
Into dark [2:38]