"The Italians embraced the transverse flute rather more cautiously than others, but when they did it was with characteristic enthusiasm; there are plenty more concertos where these six came from. The attribution of the Pergolesi is unqualified in the statement of contents; the annotator states that it was ''attributed to'' him, but Grove lists it as ''extremely doubtful''; it also describes the Tartini work as ''dubious'', but no hint of this is offered in the inlay-booklet. Regarding Romano Antonio Piacentino and his concerto, even that august dictionary is entirely unhelpful. The concerto proves that he existed and its style places him somewhere in the eighteenth century, but that is all. His ability to create something agreeable out of thematic commonplaces recalls Vivaldi. With Tartini and Piacentino we are in the world of the straightforward baroque instrumental concerto, while 'Pergolesi' and Galuppi show traces of operatic connections. Little is known of Louis Gianella (?1778-1817), a flautist who worked at La Scala in Milan, whose curious and otherwise unrecorded Concerto lugubre patently links his two compositional fields—those of the theatre (opera and ballet) and with-flute instrumental music, which includes two other flute concertos...Galway plays with his accustomed silver-tongued panache and has the benefit of the co-operation of both I Solisti Veneti and the recording engineers at their best."

John Duarte, Gramophone [4/1994]