...elegant and committed performances of Susan Alexander-Max in the latest installment of her ongoing series of the early Clementi sonatas for Naxos...Naturally for a composer whose works are considered the foundation of what may be achieved on the piano, the choice of an instrument that Clementi himself would recognize is an enormous advantage. In this case, a replica of a late 18th-century Michael Rosenberger piano by Derek Adlam provides an added dimension to these performances. But it is the probingly sensitive artistry of Alexander-Max that leaves no doubt why Clementi was so celebrated in his day and so influential on subsequent generations. The two-movement F-Major Sonata without opus number, for instance, stands out as a finely honed minor masterpiece despite its faux-naïveté. The other two-movement work on this disc, the E^?-Sonata, written in Vienna, opens with a fully fledged Adagio, invested here with all the breadth and ardor of an opera scena. Yet it only hints at the cantabile eloquence Alexander-Max brings to the Larghetto of the op. 13 F-Major Sonata. Reviewing the second volume of this series I mentioned the extraordinary variety of touch and articulation that characterize her playing. Having now heard more of her work, I would add that her grasp of Clementi’s idiom is enormously sophisticated, reflecting an acute understanding of his stylistic development within the context of turn-of-the-19th century piano playing. Alexander-Max exploits the distinctive sonorities of her piano’s registers with a fine ear for instrumental color, making it a joy to listen to her boldly imaginative interpretations...the vivid, thoughtful, and loving performances of Susan Alexander-Max make her Clementi’s most eloquent advocate.