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Penguin Guide, January 2009

Enno Voorhorst’s playing is of the highest order. His flexing of rubato and flowing lines are totally spontaneous-sounding, and his beguilingly subtle control of dynamic brings the most disarmingly attractive results. Every piece here is melodically enticing and Voorhost is the composer’s most seductive exponent. He ends with Variations on a Theme of Tárrega, using a very winsome melody, nicely expanded. The recording is very real and properly intimate, and this is an obvious choice for those wanting to sample the music of this underrated composer.

Paul Shoemaker
MusicWeb International, December 2004

  "Many consider Barrios to be the greatest guitar composer ever. Unfortunately he wrote down little of his music. Many important scores have had to be reconstructed from recordings, which accounts for the delay in his music coming to appreciation and currency. His music is distinguished by a Mozartean ingenuity at variations, his almost Bachian ability at the arpeggio prelude style, his rich melodic sense and adventurous harmonic sense. There are occasional clear echoes of Villa-Lobos, not surprising since Villa-Lobos was one of the great original stylists in Latin American guitar music; any guitarist of this period would expect to learn a great deal from him. However this is all highly original music.

Barrios’s harmonies are all "white" with none of the African influence we expect to hear in Spanish and Latin American guitar music. This gives his music the sound of classical period keyboard music. Yet, almost all of this music is Romantic in feeling and introspective in mood. The titles of these pieces - Prayer to My Mother, Sleep of the Little Doll - may lead you to expect this music to be heavily sentimentalised, but that is not the case. Even Invocación a Mi Madre is thoughtfully lyrical without being maudlin. The first number from La Catedral (as well as several of the other pieces) resembles the "raindrop" etude of Chopin in both mood and texture, while the last number is a dazzling virtuoso work in style halfway between a Bach lute prelude and Albéniz’ Leyenda. Confesión is a clear, tuneful work.

The guitarist skilfully encompasses these changes in style and the wide variety of techniques and shows a deeply personal sense of commitment."

Peter M. Knapp
The Patriot Ledger, January 2004

"Voorhorst demonstrates a formidable technique"

Kevin Sutton

"A writer of music of great charm and beauty, Augustin Barrios is a composer who had to wait far too long to be widely enjoyed by the public. Enno Voorhorst presents a delightful recital of gems from this Latin wanderer. Music to soothe the savage beast in us all, this is a must have for lovers of the guitar."

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