‘These sonatas represent in my view the best music in terms of sheer quality that I have ever edited - and I don't exclude Vivaldi and Albinoni from the comparison.’ -  Michael Talbot

Volume 2, Sonatas 7- 12.

Talbot makes out a good case for Carbonelli's sonatas in the introduction, rightly praising their seriousness and artistic ambition, their 'stylistic richness' (drawing on Valentini, Albinoni and Vivaldi as well as Corelli, the main model), and their 'command of musical form, with logical development and skilful combination of memorable musical ideas'. Playing through them I was struck by the balance struck between the considerable technical demands of the solo part and the rich harmonic implications of the carefully figured continuo part. Even prominent early eighteenth- century composers sometimes found it difficult to write convincingly in only two parts, but it is a test that Carbonelli passes with flying colours.
It is good to report that the edition is worthy of the music. It is clearly and elegantly printed, with the continuo figures included in the bass part (allowing performances in which the cellist replaces the keyboard by adding chords), and with a sturdy ring-bound score that sits flat on a music desk.

Peter Holman in Early Music Performer

As always, HH has produced another excellent example of music that needs to be more accessible in the hands of a fine editor. 

Clifford Bartlett in Early Music Review

I would change almost nothing in this excellent edition, save perhaps the font size of the movement numbers.

Alon Schab in Eighteenth-Century Music