"Cappelletti and Bamert’s coupling is salutary in what little remains to apologize for in Respighi’s music when played with real opulence and virtuosity. The fact is that the Concerto belies it’s name: both have shrewdly perceived that Respighi’s use of modality enables him to explore both early music and folklore… The lushness sounds much more natural in the context of a late-romantic violin concerto, with a big and bold performance of rich and dramatic gesture. Cappelletti, a striking and accomplished soloist, makes the most of the finale’s punch and vigour, but also of the musing beauty of the slow movement. I now prefer this (version)"… "romantic warmth is also a feature of Barra’s Poema (suite), Respighi in neo-baroque lush harmonies with a baroque-size orchestra" (Gramophone)

01. Andrea Cappelletti – Concerto gregoriano, P 135 I. Andante tranquillo
02. Andrea Cappelletti – Concerto gregoriano, P 135 II. Andante espressivo e sostenuto
03. Andrea Cappelletti – Concerto gregoriano, P 135 III. Finale (Alleluia). Allegro energico
04. Andrea Cappelletti – Concerto all’antica, P 075 I. Allegro
05. Andrea Cappelletti – Concerto all’antica, P 075 II. Adagio non troppo
06. Andrea Cappelletti – Concerto all’antica, P 075 III. Scherzo. Vivace – Tempo di minuetto – Vivace
07. Igor Gruppman – Poema autunnale, P 146
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