Classical Guitar (UK), May 2008

Irara is the name of a mink-like mammal which lives in Central and South America; it must be a happy, quirky and fun-like little creature if this music is a true depiction.

Throughout this piece's duration we encounter surprises in rhythm, tempo and key changes and the general attitude is one of elation. The suggested imagery of this little animal works really well with scurrying little movements and unpredictable behaviour translating well into music.

Belgian guitarist Boris Gaquere has a talent for writing entertaining and captiving music and this exceedingly rhythmic and melodic work is a splendid new addition to the advanced guitar duo repertoire.

Boris Gaquere has recorded Irara with Sébastien Vachez on the latter's CD "Brésils".

-Steve Marsh

About the concert of Boris Gaquere & Renato Martins Duo, at the SESC Paulista, Sao Paulo (Brazil)

"Le mélange excentrique entre un guitariste belge et un percussionniste brésilien m’a semblé suffisamment intéressant pour que j’aille jusqu’au la salle du SESC Paulista afin d’y satisfaire mon oreille curieuse et d’y écouter une variété d’influences et de mélodies. Après une tournée en Europe, Boris Gaquere – le belge – et Renato Martins sont arrivés au Brésil pour y lancer leur CD « Tempo Feliz », constitué de compositions personnelles ainsi que de musiques d’artistes consacrés, tels Baden Powell et Paulo Bellinati.

La salle était pleine lorsque le concert débuta de manière ponctuelle à 19 heures. Peu d’instruments, mais un son dense : des notes rapides et des percussions s’emboîtant dans la mélodie. Boris Gaquere présentait une technique magnifique, à tel point que parfois, on aurait pu croire qu’il y avait deux ou trois guitares simultanément sur la scène, ou qu’il possédait plus de cinq doigts, vu sa vitesse d’exécution.
La complicité entre les deux musiciens était évidente et inspira un sentiment de sécurité à tout l’auditoire. Le public était formé pour la grande majorité d’adultes naturellement fans de musique classique et fréquentant de manière assidue la série « Instrumental Sesc Brasil », qui invite des artistes plus célèbres à chaque fois.
Renato Martins possèdait une technique singulière qui aurait laissé réellement n’importe qui sans voix : avec un simple vase en terre cuite, il créa une diversité de sons. Avec la paume ouverte ou fermée, de la pointe des doigts ou en arrêtant/laissant passer l’air, le percussionniste brésilien effectua des effets essentiels qui se marièrent à merveille avec les musiques choisies pour ce spectacle.

Le terme « choquant » me semble le plus approprié pour définir le talent ici présent ! La preuve : l’intensité croissante des applaudissements à chaque nouveau morceau, comme lors de « Baile Funk », « Sai do Chão » et « Pulo do Gato ».
Boris Gaquere n’aurait pas eu l’air d’être belge si son accent n’avait pas trahi ses origines à chaque fois qu’il prenait la parole entre deux morceaux, tant sa maîtrise de la guitare brésilienne démontrait une assimiliation totale du style. La sympathie et le charisme présents lors de plaisanteries ou de dialogues entre les deux artistes firent que personne ne voulait les voir sortir de scène. Après une belle musique intitulée « Obrigado » (« merci » en portugais) et quelques rappels, le concert s’acheva, mais ce n’était pas à Boris et Renato à nous remercier. C’est nous qui les remercions !

- Arte Free em Sao Paulo, Allan Brito | 28.11.06

Classical Guitar (UK), June 2006

Carpe Diem Although renaissance repertoire performed on a modern classical guitar is becoming a less common sighting, the noble legacy of the baroque transferred to six nylon strings remains as fashionable as ever. An explanation regularly trotted out is that this is because there are more active renaissance lutenists than there are masters of the wonderful but scary 13-course baroque behemoth. But surely a more influential factor is that transcriber/arrangers for the modern guitar have only occasionally felt the need to explore beyond renaissance fare from lute and vihuela sources. OK, there was a passing vogue among guitarists in the 70s and early 80s for plundering keyboard sources such as the Fitzwilliam Virginal Book, but the basic principle remains sound. The baroque situation is radically different in that works for instruments unrelated to the guitar or lute have routinely been targeted and absorbed into the repertoire, the Bach Chaconne beeing perhaps the largest and most obvious example. On the other hand, the range and tuning of the baroque lute often renders its language incompatible with a standard modern guitar, a problem unlikely to affect renaissance lute transcriptions, except possibly those taken from the more abundantly-strung instruments at the end of the era.

This all-baroque agenda from the young Belgian Boris Gaquere offers just one Weiss lute suite alongside David Russell's settings of Loeillet and Bach, originally for harpsichord and flute respectively. The imposing Passacaglia by Heinrich Ignaz Franz von Biber (1664-1704) is, according to Thomas De Mey's concise and informative notes, drawn from a period setting for baroque lute from a violin original, thus providing a pleasing bridge between the lute and non-lute elements in the programme.

From the opening bars of L'Infidèle, it is clear that Gaquere is an impressively-equipped guitarist who delivers the goods with keyboard-like precision and elegance. Although Weiss tends to be the best known outside specialist circles for single-movement items such as the two Tombeaux, this colourful six-movement dance cycle is gradually finding its way into the mainstream. Rightly so, for the quality of its merchandise is of a high order indeed. Restrained yet expressive throughout, Gaquere decorates the lines with a subtle yet varied range of ornamentation, most of which is of the single-string variety. This is the second time in as many days I have found myself typing such an observation, so could it be that the cross-string craze is finally nearing its end? It would seem not, for the Loeillet is positively showered with bells and whistles articulated by the right-hand. But it would take a sterner commentator than I to deny that Gaquere follows his chosen path with consummate mastery. By the final Giga, I actually found myself rather enjoying the constant barrage of cheeky chirps and twisters, which surely speaks volumes for this highly gifted performer's powers of persuasion.

Classy and mature baroque from an outsanding guitarist of the new generation.

-Paul Fowles

Classical Guitar (UK), May 2005

Stare Miasto allows the guitarist to show his/her prowess right from the start with a solo twelve bar free fantasia introduction. This incorporates some enchanting writing for the instrument and certainly whets the appetite for what is to come. When the flute does arrive on the scene with its melancholy tune the guitar is relegated to accompanist for the majority of the rest of the piece but the writing is still sufficiently good for the instrument that the interest never wanes.

This is a delightful new edition to the repertoire for flute and guitar and any advanced duos should consider this as an option for future repertoire.

-Steve Marsh

Seicorde (Italy), October-December 2004

Giovane chitarrista nato in Belgio, con un bagaglio di esperienze di studio di notevole interesse, Boris Gaquere ha al suo attivo un'interessante carriera concertistica, legata sopratutto al sodalizio con i primi maestri: Sergio ed Odair Assad.

Baile Funk è un pezzo di difficile esecuzione che ricrea in maniera piuttosto precisa il discorso del genere espresso nel titolo. Accentazioni spostate, utilizzo di una linea del basso molto ricca, dissonanzeprevalentemente dolci e, sopratutto, una buona idiomaticità della scritura, rendono il brano piacevole e degno di attenzione.

La struttura formale è piuttosto complessa alternando agoniche diferenti e momenti anche molto contrastanti fra loro. La ripresa del tempo fa supporre che, nella mente del compositore, aleggiava la forma-sonata. Brano decisamente da tenere in considerazione

Classical Guitar (UK), September 2004

Tabi This fascinating piece is dedicated to Shin-ichi Fukuda who has recorded the piece on his CD 'Voyage', and on the strenght of several play-throughs of this piece, the CD is now on order.

Tabi, subtitled 'Voyage', begins with a beautiful, albeit brief, introductory Andante with the theme played in right hand harmonics. This 'prelude' totally unprepares the listener for what follows, which is in effect, five-and-a-half pages of fast swing music passing through various time signatures, the majority being in 5/8.

Numerous slurs, positions shifts and campanella passages puts this work in the province of the upper grade player only, but the hard work required is more than compensated with a composition which, in the end, is highly entertaining for both listener and player.

A good new addition to the solo repertoire.

-Steve Marsh

Classical Guitar (UK), September 2004

Baile Funk This is only the second work I personally have encountered by this composer but already he has established himself in my memory as a name to watch for in the future.

Baile Funk is technically superior to his other work published by GSP (Tabi) being only accessible to the grade 8+ player. As its title suggests, this composition relies heavily on the rythmic drive in a 'funky' style and throughout the piece it is the cleverness of this rythm underscoring a melody of sorts that impresses the most. During the 14 pages there are lenghty intervals of calmness, which relieve the tension for a while, these passages illustrating the more sensitive side to this writer.

Paired together with his other, previously mentioned piece, this would make for a formidable coupling in any concert programme.

-Steve Marsh

Classical Guitar (UK), June 2004

Xeque-Mate

Belgian-born Boris Gaquere (1977) has studied with luminaries such as the Assad brothers, Roland Dyens, David Russell, Roberto Aussel, Costas Cotsiolis and Paulo Bellinati. Some people are never satisfied with just one teacher! He has had compositions published and Steve Marsh reviewed Obrigado in Classical Guitar 2002.

It might be assumed that Gaquere has a leaning toward Brazilian music and that assumption would be correct. But it is Brazilian music of an eclectic kind, the sort of music that flows from the fingers of Egberto Gismonti and perhaps Hermeto Pascoal and filters down into the rivers and tributaries of artists of the stature of Sergio Assad and Roland Dyens. In order to make this work the guitarists have to be the highest calibre of musician. Sergio Assad's fiendishly difficult Aquarelle is more often performed without the outer movements, lesser players revelling in the beautiful Valseana and as such missing the true force of this dynamic tryptych. Gaquere plays with total command, a refreshing dexterity and subtle use of his reserves of formidable technical power.

Xeque-Mate (Checkmate) is a recording that easily avoids the pitfalls of a mere technical show-case full of lollipops and unnecessary affirmations. Sebastien Vachez (also reviewed in CG) is another remarkable young guitarist/composer, his Cavatine is a lullaby with an unusual scordatura (6=Eb and 5=Bb) and its charming Debussian atmospherics pave the way for Roland Dyens's frenetic and utterly absorbing Hommage à Villa-Lobos. Gaquere plays this with obvious relish and lucidity. Obrigado is a funky, percussive piece, turning the guitar into an ensemble of bongos etc. with flourishes of delightful detail. The opener, Baile Funk (Funk Party) also shows Gaquere's healthy respect for modern dance music. Clarice, daughter of Sergio Assad's Valsas do Rio is a trio of pieces very much in the vein of her father, which is no bad thing and the perfume of nostalgia imbues every note with typical grace.

With final Xeque-Mate, a duet with Odair Assad, Gismonti's influence is palpable and Gaquere rounds off a tremendous recording. The entire production, from the design to the lively sound realisation is a total success and introduces us to a player of great intergrity. Seek this out.

-Tim Panting

Guitarramagazine.com (USA), December 2003

Sometimes, this job is easy.

A CD comes across my desk that contains a new voice - Goran Ivanovic and Fareed Haque with Macedonian Blues, Gyan Riley with Food for the Bearded for example.

Boris Gaquere with Xeque-Mate (CD) is such a new voice.

As part of the composer/guitarist subculture that seems to have sprung up around classical guitar (propped up might be a better characterization), Gaquere brings a style somewhere between Roland Dyens and Sergio Assad (two of his former teachers, the latter's brother appears as a special guest on the disc). Translation: the pieces unite several styles (rock, jazz, funk) around a compositional style that is formally simplistic (large ABAs) with nods to not-so-rigorous, two-voice counterpoint employing a jazz-informed harmonic language. Mix all of this with a kid who can play the guitar (he gives a spry, gracious reading of Dyens' Hommage a Villa-Lobos) and you have a great disc.

The CD, apart from the composer/guitarist genre discussed above, also highlights an interesting new cosmopolitan nationalism that has sprung forth from the informational diaspora of the last two decades. Unlike the middle of the last century where music was defined by the compositional process (serialism, minimalism, neo-classicism, aleatoricism, and various other -isms), in our day it seems that we are back in the late nineteenth and early twentieth centuries where one's music is identified by its national flavor. But instead of this springing from the desire for regional self-determination, a sort-of-sacrifice of self to the greater meaning of 'a people', these associations with national musics are often the expression of a non-confrontational imperialism (multi-cultural imperialism) that, like Mozart's use of Janissary Bands, seeks to color the music with exotic elements. However, unlike Mozart's interpolations, these touches of exoticism are not hints or diversions but constitute the primary definition of the music.

Note how Gaquere on the best track of the disc, Xeque-Mate (as fiery as anything on Macedonian Blues - but with a wry sense of humor), references his love of rock (an American music) and Brazilian music. As in Gyan Riley's use of Indian and Central/Eastern European music, we see a non-native (Gaquere is Belgian) identifying with foreign national styles and utilizing their characteristic sounds and effects to lend his music an exoticism. The grand problem of this type of music is that one falls in love with the ambience created by the music and in turn the formal component suffers. But this is a sacrifice quick-made in these days of musical commercialism where one defines their market by the moniker attached to their music (i.e. Brazilian music, Rock, Country, etc.).

Along these lines is the elegant Valsas do Rio by Clarice Assad - doubtless Brazilian Music. The first two of the three movements with their languid and lounging reads by Gaquere are wonderfully evocative. Gaquere maintains the mood in the more frenetic final movement, Central do Brasil. Ms. Assad is an excellent composer with much more than stylistic feel at her disposal. Gaquere's sensitive performance makes it one of the best tracks on the disc.

Gaquere in this first CD shows an original compositional voice, a command of the instrument and a strong ear for new composers. His is a new voice I hope to hear more of soon.

-Andrew Hull

El Telegrapho (Uruguay), August 2002

About the concert Boris Gaquere gave at the Auditorio Miguel Angel Pias, in Paysandu

Estupendo! Continuando con el ciclo guitarristico iniciado por la sanducera Cecilia Siqueira el passado 16 de junio en el Teatro Florencio Sanchez, se presento en un auditorio 'Miguel Angel Pias' colmado el guitarrista belga Boris Gaquere, joven y talentoso artista nacido en 1977 y formado en Bruselas con Sergio y Odair Assad.

Realmente, la cofradia de guitarristas y 'guitarreros', al igual que todos los amantes de la musica sanduceros estuvimos de parabienes al tener la oportunidad de escuchar a este talentoso musico que venia precedido por elogios comentarios de la prensa internacional.

Un programa muy variado, aunque acotado, mostro su versatilidad a partir del inicio con tres piezas de la 'Suite VII' de Haendel, originalmente escrita para clavecin. La ejecucion fue suficiente para mostrar la compenetracion estilistica de Gaquere con el autor y la época.

Luego de los aplausos entre una y otra pieza, desde el barroco nos trajo al siglo XX con la obra del compositor italiano Mario Castelnuovo-Tedesco, quien dedicara una serie de 'Caprichos' a Goya, el gran maestro de la pintura realista espanola.

Luego ejecuto 'Baile Funk', una creacion propria en la que juega sobre ritmos brasilenos buscando distintos efectos de la guitarra, cerrando la primera parte con una muy dificil 'Sonata' en 3 movimientos del cubano Leo Brouwer, nascido en La Habana en 1939, con cuyo padre Gaquere estudio en masterclass.

En este muy interessante 'Sonata' desarrollada en lenguaje contemporaneo, al final del primer movimiento Brouwer juega con el 'tema' de la 'Pastoral' de Beethoven. Luego rehuye los malabarismos y se interna en las raices afrocubanas, a las que incorpora las sonoridades modernas.

En la segunda parte, 'Hommage à Villa-Lobos", de Roland Dyens, revela la atraccion que el autor y el paisaje brasilenos han ejercido sobre el frances en sus partes: Climazonie, Danse Caractérielle et Bachianinha, Andantinostalgie y Tuhù.

Gaquere continuo con 'Pulo do Gato', de Paulo Bellinati. 'Pulo' significa 'patada', en este caso referida a que el guitarrista debe atacar las cuerdas como si les dieras zarpazos.

De los ritmos brasilenos paso a Espana con 'Fandango' de Joaquin Rodrigo, muy conocido por su 'Concierto de Aranjuez', y finalizo el recital con 'Obrigado', que el proprio Gaquere dedico a su maestro Assad.

Obra de inspiracion brasilena en tres partes, 'Escola de Samba' recrea el desbordante ambiente festivo de esas agrupaciones; 'Pao de Açucar' es profundamente reflexiva y 'Carioca', una pieza ritmica que revela el espiritu de la gente nortena.

Los insistentes aplausos obligaron al bis, en el que interpreto 'Um Amor de Valsa' de Bellinati.

La ejecucion de Gaquere, que agradecio a Cecilia Siqueira y familia haber posibilitado su presencia en Paysandu, fue profunda y perfecta, con precision casi academica, a la vez que digitacion y musicalidad que impresionan, denotando que gusta mantener sus interpretaciones dentro de un delicado 'pianissimo' llegando en algunos casos al 'mezzo forte'. El hecho es que este guitarrista de relevencia internacional nos hizo disfrutar a pleno el arte de su instrumento.

Classical Guitar (UK), March 2001

Boris Gaquere and Denis SungHô studied with Sérgio and Odair Assad, and this, their first CD, is a tribute to the teaching of that legendary pair. The nature of the programme is Assadian, as you might expect: Piazzolla's Tango Suite is played with verve, and the eloquence of Lo que vendra is vibrant with life.

Gaquere's own contribution is also lively. Obrigado (a Brazilian 'thank-you' to hos teachers) consists of three dance-based pieces in Brazilian style, Escola de Samba, Pao de Açucar and Carioca. Gaquere writes with assurance; his Brazilian rythms are crystal clear and sound authentic. A 23-year-old Belgian, he demonstrates that you do not have to be born in Rio de Janeiro to write Brazilian music.

Sérgio Assad's reputation as a composer is approaching parity with his high reputation as a performer. His music generally has a fast pulse rate, and the three Brazilian scenes are no exception. In this company, Jobiniana No.1, not by any means a slow piece, sounds positively sedate.

I have no idea how wide the range of this new duo is - though at least one contemporary Belgian composer has dedicated a work to them - but wether or not they can tackle the milestones of the classical repertory they do exceptionally well in this corner of it. Technical command, a precise definition of rythmic values and an overt enthusiasm for their work suggest that they will be going places.

-Colin Cooper

Les Cahiers de la Guitare (France), July 2000

Cette pièce installe le mouvement cyclique d'une 'cellule' au rythme un peu heurté, avant de faire dialoguer ou s'opposer les deux guitares dans des figures variées de celle-ci, ou dans des échappements mélodiques, conjoints ou non. L'échelle choisie ressemble à une mini-série polarisée sur certaines notes, et détermine la compréhension immédiate des cellules autant qu'elle limite les possibilités de leur développement, surtout à partir du moment où la figure rythmique de départ est prise plutôt comme ostinato, structurant toute la pièce. Il s'en dégage donc une grande homogénéité et une tension toujours maintenue, alimentée par des couleurs plutôt sombres (les deux guitares ont une sixième corde en mib. La coda s'échappe de cet ostinato et des polarités de notes par le chromatisme, donnant une queue digne du titre de la pièce. Bravo.

-Frédéric Nicol

Classical Guitar (UK), July 2000

Dedicated to Sergio Assad and written in 1997, Obrigado' is a tremendously exciting piece to play through and is ideal concert repertoire material.

Escola de Samba, the title of the first of the three movements, is exceedingly rythmic and percussive throughout its six pages. There are lots of instructions scattered in the course of the score as to how and where to play the various percussion passages, plus two small diagrams of the guitar front to assist as a 'map'. Strewn amongst all these rythmic devices are small fragments of flighty, melodic passages.

The second movement, 'Pao de Açucar', begins with an introductory slow, unbared segment leading onto a delightful, albeit short, passage wich in turn moves onto the main body of this movement, a two-page melodic, graceful, almost sensual, composition. The fact that this second movement is played without a break from the energetic first movement, highlights the beauty of this part of the whole work even more.

Obrigado concludes in grand style with another dynamic movement titled Carioca - five pages of highly charged, energetic fingerbobbing around the fret-board having a brief motif obstinately appearing many times trhoughout. This is really grand stuff - music to stir the soul and raise the spirits!

It really goes without saying that this piece is really only in the realms of those gifted with a highly polished technique. Highly recomended.

-Steve Marsh

Classical Guitar (UK), August 1999

Here's a shortish (40min) CD by two players in their early 20's who met on a class given by Sergio and Odair Assad, and who have been playing in duo for a couple of years. They are continuing examples - if such are needed - of how far the guitar has travelled in recent years. The technique and general musicianship outstrips what the norm even five years ago, never mind ten. Thus the wonderful Tango Suite is executed with a remarkable brilliance, and - particularly - an exuberance which manifests their delight in what they are doing. One can only applaud the commitment, and the result of that.

A fine treatment of the beautiful Jobiniana No.1 by Sergio Assad comes as no surprise therefore. Full of tempo nuances, the duo bring it off splendidly.

Obrigado is a solo work by Boris Gaquere, who is also the performer on this occasion. In three movements, the vital first (Escola de Samba) relies considerably on percussive effects, although there are lingering sections of deliberate charms. One can see the influence... Pao de açucar then floats evocatively, while the concluding Carioca once more bristles with energy and dash.

Lo que vendra is a proven brief duo delight and this pair execute it with panache and verve.

By the time we'd reached the concluding work - and Tres Cenas Brasileiras is a terrific piece - I was beginning to feel slightly overloaded on one style of playing. I think there is a danger with contemporary guitar duos of seeking to emulate the amazing, wonderful, brilliant Assad brothers. Fantastic as they are - and they are - maybe the greatest respect, homage, you can show your teachers is to break away? They are truly individual: but quite a few young duos are in danger of losing their own identity through close copying. For remarkable talents such as those heard here, the temptation and inspiration must be huge, and I acknowledge that - and also that the future may seem vast and long. For now, then, let us praise this fine Gaquere-SungHo duo on a highly accomplished CD; I will be very interested to see where their inclinations take them in the next five years.

-Chris Kilvington

Journal de la Société de Guitare de Montréal (Canada), January 1999

Que diriez-vous si on écoute le premier disque de votre duo, et qu'on hésite presque à dire: s'agit-il des frères Assad?

Telle est la première impression qu'on éprouve en écoutant le duo Gaquere-SungHô, si on n'a pas vu le livret du disque. D'autant plus que cet enregistrement est un hommage à l'enseignement de leurs professeurs. En effet, les membres de ce jeune duo belge, Boris Gaquere (né en 1977) et Denis SungHô (né en 1975) se sont rencontrés en 1996 dans la classe de Sérgio et Odair Assad, aux Conservatoires de Bruxelles, puis de Mon.

Autant du côté technique que musical, ce duo vous impressionne, vous emballe et vous étonne. De magnifiques morceaux figurent dans ce premier disque, qui est également doté d'une belle qualité d'enregistrement: la 'Tango Suite' et 'Lo que vendra' de Piazzolla, 'Jobiniana No.1' et 'Tres Cenas Brasileiras' de Sérgio Assad, et un morceau surprise, 'Obrigado', ainsi qu'une composition pour guitare solo de Boris Gaquere. Une pièce d'inspiration brésilienne, hypnotisante de par le crescendo et decrescendo de ses percussions du premier mouvement 'Escola de Samba'; enivrante de par la sensualité et la douceur du deuxième mouvement 'Pao de Açucar' et finalement de par les contrastes imagés de son troisième mouvement 'Carioca'. Une conclusion parfaite au morceau, avec rappel du premier mouvement à la toute fin.

Les deux morceaux de Sérgio Assad, 'Jobiniana No.&' et 'Tres Cenas Brasileiras' sont techniquement infaillibles. Ce disque est une vraie découverte.

-F.A.

Guitart (Italie), January 1999

Il presente CD rappresenta il primo coronamento discografico del sodalizio artistico tra i due giovani chitarristi, Boris Gaquere (nato del 1977) e Denis SungHô (nato en 1975), inauguratosi nel 1996 nella classe tenuta da Sergio Assad in Bruxelles. E con un tale insegnante non si poteva certo aspettarsi di meno da questi due giovani che, dotati di un grosso talento individuale, hanno trovato, nel fare musica insieme, un'intesa che ha radici nel comune temperamento ed entusiasmo. Le note del libretto (da segnalare la grafica molto giovanile) si fermano a pochi cenni biografici e tanto basta: per il resto a parlare sono direttamente le esecuzioni, le quali ci guidano in un percorso tutto sudamericano, li dove, ci è dato di capire, i due sembrano trovarsi perfettamente a proprio agio. Apre il CD, dunque, l'ormai celebre Tango Suite di Piazzolla, e subito il Duo sfodera i sui artigli in una spumeggiante esecuzione - quanto importante sarà stat la guida del loro maestro Sergio Assad! - che non lascia adito a dubbio sulla padronanza strumentale di primo livello. Il duo trova pero anche i suoi elastici abbandoni, li dove la pagina le richiede, e lo fa sempre con grande partecipazione. L'atteggiamento strumentale di entrambi sembra prediligere (per quello che si puo ricavare dall'ascolto) l'estrema pulizia ed una tecnica agile, non interferita dall'eccessivo peso, cosa che permette loro di raggiungere un'encomiabile equilibrio d'insieme anche nelle piu funamboliche situazioni. Il viaggio prosegue con due brani di Sergio Assad Jobiniana NO.1 e Tres Cenas Brasileiras dove il celebre chitarrista brasiliano, qui nelle vesti di autore, ci propone una musica che, pur non abbandonando mai la propulsione dell'elemento ritmico, trova sempre accenti di una suadente e trasognata cantabilita. Interessante anche il brano Obrigado per chitarra sola, in tre movimenti dello stesso Boris Gaquere (che ne à anche esecutore). Qui lo strumento si illumina di mille facce: a tratti suona come uno strumento a percussione dai complessi 'patterns' ritmici, mentre a luoghi esprime tutta la sua carica propulsiva basata sia sul repertorio usuale di possibilita strumentali che sul ricorso a numerosi effetti particolari, in altre sprizza di tutto il suo lirismo in una sentita atmosfera 'carioca'. All'appello non poteva infine mancare ancora Piazzolla, con il celebre Lo que vendra, la cui esecuzione non fa altro che confermare le doti del Duo. Tutto a dimonstrazione che l'accelerazione impressa dai fratelli Assad all'insieme del duo di chitarre sta trvando, nelle nuove generazioni, quanti siano disposti, con grande impegno, ad intraprendere fruttuosamente la stessa fantasmagorica strada.

-Piero Viti