Campogrande’s 150 decibel is really a wonderful piece
Martha Argerich

Il compositore Nicola Campogrande è noto per opere che hanno trovato d’accordo, una volta tanto, critica e pubblico
Gaetano Santangelo, Amadeus

Nicola Campogrande is regarded as one of the most interesting Italian composers of the young generation
– Amazon

Tre greatness of Campogrande’s compositions is in his capacity to create a music that belongs to the audience, that doesn’t create a division between who is playing and who is listening. His scores communicate a sense of optimism filled with emotions
Paul Daniel

With thirty recordings and hundreds of scores already to his name, Nicola Campogrande is one of Italy’s most promising composers. Also known internationally, he has been commissioned more and more by theaters of great importance. This success comes despite not being part of the established avant-garde music scene. Campogrande is among those who have made the choice of total compositional freedom, liberating himself from an obligation to be stylistically reminiscent of the great masters. He has remained true to the common concept: a composer must write the music he likes
– Italian Journal, Usa

La vraie surprise de ce programme le public l’a découverte en écoutant R (Un portrait pour piano et orchestre)de Nicola Campogrande…une oeuvre à l’histoire étonnante
– Le Répubblicain Lorrain

Scrive una musica contemporanea che piace a tutti, e già questa si direbbe un’impresa titanica. Originale e accattivante senza mai essere banale
Luigi Di Fronzo, la Repubblica

Nicola Campogrande “Urban Gardens” with Abbado/Arciuil is sublime! If all new music is this exciting and full of joy, bring me more!
Alison Young, Classical Minnesota Public Radio

Das Publikum zeigte sich so begeistert, dass bereits vor Ende des Stückes Szenenapplaus gespendet wurde
Gabriele Adrian, Schwarzwälder Bote, February 6, 2014 (about Piccola Messa Italiana)

Campogrande’s music sparkles with wit and energy but displays, too, a rich vein of melancholy in the bluesy tune that permeates the second movement (of  his pianoconcerto”Urban gardens”). There are touches of Ravel in the writing for piano, but the sound and style is something new and original. The composer, a bearded, lanky 45-year-old, was present. He joined the musicians onstage at the end and received a rousing ovation
The Star Tribune, Minneapolis

Una personalissima cifra espressiva, insieme trasognata e tagliente, collegata alla tradizione melodica italiana ma sempre originale
Il Giornale di Vicenza

But the strongest impression came from the program’s newest work, an intriguing jazz-flavored, pseudo-piano concerto by Italian composer Nicola Campogrande (…) It sounded something like a modernist homage to George Gershwin with its bluesy, slow movement and evocation of urban landscapes. Arciuli handled its ample demands impeccably, whether scurrying about the keyboard hyperactively or laying florid lines atop the orchestra in a style reminiscent of Oscar Peterson’s orchestral excursions
– The Pioneer Press, St Paul (Minnesota)

Campogrande’s premiere, which served as the centerpiece of the program, was a largely impressive contribution from a composer who has not attracted much attention on this side of the Atlantic. The music was accessible while still full of complexity and individual character (…) The second movement, “In a Jazz Club Courtyard,” proved to be the most memorable, beginning with a jazz-tinged dialogue between piano, winds and percussion that built to a clangorous climax, followed by the entry of the strings in one of the most successful efforts I have heard to integrate the swing and syncopation of jazz with an orchestra
– Eric Prindle, Bad Entertainment.net, September 15, 2014 (about “Urban gardens”)

Nicola Campogrande è, tra i compositori di oggi, un autore di grande originalità
– Rome Today, June 26, 2017

Con “Magia Nera” Nicola Campogrande ha scritto una partitura “aperta”, complessa, elegantissima e figlia dello spirito del nostro tempo. Con orchestrazioni ed elaborazioni melodiche degne di un’opera matura
Giancarlo Riccio, il Corriere del Trentino, December 6, 2013

De la valse “charlestonisante” à la musette “sarabandesque”, Nicola Campogrande surfe avec intelligence et élégance, toujours du bon côté du bon goût. On aura le droit d’aimer ou de ne pas aimer, mais en aucun cas de dire que “ce n’est pas bon”, car voilà de la musique très soigneusement composée, qui devrait autant plaire au néophyte, pour des raisons purement hédonistes, qu’au mélomane qui s’amusera à retrouver les centaines de clins d’oeil de Bach à Prokofiev!
Abeille Musique, 2004

Un racconto surreale, un testo provocatorio immerso in musiche estremamente raffinate – Luigi Fertonani, Brescia Oggi (about “Metafisica dei tubi”)

La musica di Campogrande è molto appropriata: discreta, favolistica, ritmicamente varia, diretta discendente dalla fantasia di Debussy e Ravel, con frasi tenere che riappaiono a fare da fil rouge e a intessere maglie
Fulvia Conter, Il Giornale di Brescia (about “Metafisica dei tubi”)

Il pezzo di Campogrande è apparso ben congegnato nella sua icastica energia, che rivela mestiere e proprietà di idee”
Francesco Arturo Saponaro, The Classic Voice (about “150 decibel”)

Cinque minuti di bravura e arabeschi orchestrali
Angelo Foletto, la Repubblica (about “The Expo Variations: Oman”)

These vignettes have been a delight on the ear
– James Imam, Bachtrack.com (about “The Expo Variations”)

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