The accordion, an instrument that had to overcome old prejudices to impose its dignity and only now, thanks to your dedication and your work, is respected like any other concert instrument. The results you achieved are very important and I'm very glad to be aware of them.

Goffredo Petrassi
1996



Beautiful and musical playing. Congratulations!

Ton Koopman
2010 (on J.S.Bach cd)
 

Excellent music, excellent playing.

Uri Caine
2010 (on J.S.Bach cd) 

Jacomucci’s virtuosity is incredible and, sometimes, it’s difficult to believe that there are no more person playing other voices which seem to be impossible to do with two hands on this instrument. We have to point out the excellent use of dynamics of the bellows and the great musicality of this performer. Absolutely recommendable for any lover of the genius of Eisenach.

Ignasi Jordà, RITMO classic music magazine
2010 (on J.S.Bach cd)

Infernal Circles [by Claudio Jacomucci] deserves the palm for the best electroacustical composition with accordion ever heard.

 

Michele Coralli, BLOWUP Magazine
2008



..the contribution to musical performing has been given, besides the Scala's Orchestra and Choir, by some wellknown personalities such as Aldo Bennici, Claudio Jacomucci e Michele Lomuto : they were on scene as clowns (and nearly unrecognisable but to be admired for their virtuoso-bizarre performance) playing a tiny violin, the accordion and the trombone.

Leonardo Pinzauti, LA NAZIONE

1996 (on Berio’s Outis premiere)


His instrument is a modern acustic accordion. He's skillful to deal with situations that intensify the fully instrumental dimension: maximum of dialectical contrasts of the dynamics, sudden jumps in the tonal range, intensification of breath and unpredictable agogics.
In the accordion, there's always somethings that escape from our control: in Jacomucci's instrument, the complexity of its dimension take us beyond any knowledge to let us get into a world that is still waiting for a serious consideration by the contemporary music scene.

Michele Coralli, ALTREMUSICHE
2004

Outre la Fugue BWV 539 et Passacaille et fugue, et trois Préludes et fugues extraits du Clavier bien tempéré, tous joués avec une techni- que irréprochable, nous entendons également trois chorals, dont l’in- terprétation reproduit la solennité et le recueillement religieux (no- tamment dans Erbarm dich mein et Ich Ruf zu dir). Les changements de sonorité en fonction des morceaux sont précisément dignes de grandes orgues. Jacomucci nous montre ainsi les immenses possibi- lités de cet instrument grâce à son art remarquable et son étonnante virtuosité.

Victoria Okada, RES Musique Classique
2010


Unquestionably, the powerful musicality and the soft brilliance of the melancholy melodies which Jacomucci coaxes out of his instrument in your ears for a long time afterwards.

BASLER ZEITUNG
2000

 


Solid technique and sharp curiosity, Jacomucci overcomes the fences and notably modifies the physionomy of an instrument which is often relegated to prejudices.

 

Piercarlo Poggio, BLOWUP Magazine

2003


The young musician has emphasized – with delicated but intense sensitivity – the strong peculiarity of the composition (Sonata n.2 by V.Zubitsky) together with a creative awareness that underlined every resource of the accordion. In De Profundis (S.Gubaidulina), Jacomucci has created, with intelligent precision, even the smallest nuance.


LA NUOVA ITALIA
1992



Il suono della sua fisarmonica rapisce, scombussola, entra dentro. Un timbro non convenzionale, più simile a quello di un organo o di un’orchestra intera, una “voce” cangiante, ora calda e bassa come quella di un oboe o un fagotto, ora sottile e setosa come il soffio di un violino. Particolarissima e raffinata la sua tecnica. Controllo incantevole. Speciale il repertorio. Di sconvolgente eleganza i passaggi dedicati a Bach, dal portamento nobile, solenne, visionario e i contrappunti vorticosi della “Fuga in Re min BWV 539” alle tramature astratte, l’incedere cavalcante della “Passacaglia BWV 582” fino al pacificante “Contrapunctus XIV” da “L’Arte della Fuga BWV 1080”. Trascinanti i giochi di colore di Dowland: “Lachrimae Antiquae”. Ma a lasciare di stucco sono state soprattutto le sue composizioni originali, capaci di sconvolgere qualunque idea di fisarmonica, dalla percussività tribale di “Tarantolata” alla superba chiosa su “Orfeo ed Euridice”, un omaggio a Monteverdi per fisarmonica e suoni registrati, in pratica un buco nero, un oltre-spazio magmatico, percorso da Jacomucci anche fisicamente, itinerando attorno e “addosso” al pubblico, in cui sprofondare senza controllo. Un’esperienza nobile, catartica, esclusiva, immersiva, totalizzante. Non sono tanti i concerti che lasciano questa sensazione ma venerdì sera è successo qualcosa di unico.

Pietro Corvi, Libertà
2017