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Nicholas Sheffo
Fulvue Drive-in, July 2016

Leo Brouwer: Music For Bandurria & Guitar runs 62:35 and offers Pedro Chamorro on bandurria and Pedro Mateo on Guitar, delivering a pretty good performance of the Cuban conductors music, now likely to become a new curio with Cuban/U.S. Relations reestablished. We get five recordings in all including world premieres of Incidental Music Of The Countrymen and Micropieces, both of which are as good as any of the pieces performed here. © 2016 Fulvue Drive-in Read complete review

Donald Rosenberg
Gramophone, March 2016

The Bandurria Sonata (2011) was written for Pedro Chamorro, who here shapes the work’s haunting and savoury content with glistening virtuosity. The guitarist Pedro Mateo González is charismatic both in solo and duo guises. © 2016 Gramophone Read complete review on Gramophone

Kenneth Keaton
American Record Guide, March 2016

The playing of Chamorro and González is quite fine. In the duos, ensemble is beautifully coordinated, and both have excellent technique and perceptive musicality. © 2016 American Record Guide Read complete review on American Record Guide

Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, February 2016

…a rather delightful volume of Brouwer at his best. The bandurria has a special sound that provides a refreshing change in sonance whether in solo context or in tandem with classical guitar. The guitar pieces are equally attractive. Both players are well prepared and fully accomplished, giving these works some pretty glorious interpretations. …gives you captivating music throughout. Very recommended. © 2016 Gapplegate Classical-Modern Music Review Read complete review

Review Corner, February 2016

…slightly avant-garde in places, though in a restrained acoustic guitar kind of way, and despite his boldness in composing, Brouwer manages to keep a rustic feel to the music.

The playing, by Pedro Chamorro and Pedro Mateo González, is superb. © 2016 Review Corner Read complete review

Tiina Kiik
The WholeNote, January 2016

Performers Pedro Mateo González on guitar and Pedro Chamorro on bandurria are stars both as soloists and as a duo. There is so much respect for the composer in their spirited performances. González is especially outstanding in capturing both the soul-wrenching slow lyricism in Variation 3, and the toe-tapping energetic and contrasting slower emotions in Variation 7 of Variaciones sobre un tema de Víctor Jara… Likewise, Chamorro easily conquers the fiery rapid lines and contrasting rhythms in both his solo performances which include a world premiere recording of Sonata para Bandurria.

This is beautiful music played beautifully. © 2016 The WholeNote Read complete review, December 2015

Pedro Mateo González plays both with fine tone and admirable technique. © 2015 Read complete review

David Denton
David's Review Corner, December 2015

Way back in the 1980’s I became fascinated with the guitar music Leo Brouwer, the Cuban-born composer who is now included among those of international status. He had travelled through a number of influences, resulting in defined periods, the apparent abundance of catchy melodies he could produce in the 1950’s evidenced in the five Micropiezas written for the combination of guitar and bandurria, the latter being a small lute of 16th century origin that is still popular in South America. That seemingly endless reserve of attractive melodies are still uppermost twenty-one years later in Musica Incidental Campesina (Incidental Music of the Countryside) for the same duo of instruments. The remainder of the disc was composed in 2007 and 2011 by which time Brouwer was heading towards his seventies and showing no slowing in his output. The charm is still there in abundance, and yet in the Sonata del Caminante (The Wanderer’s Sonata) written in 2007 for solo guitar, is a score that often seems to meander. That characteristic I find even more prevalent in the Sonata for Bandurra, and I guess the innocent ear would think of it as a product of atonality. Yet it serves as a worthwhile vehicle to demonstrate the outstanding musicality of the Spanish-born Pedro Chamorro, a distinguished exponent and teacher of plucked instruments, including the mandolin and bandurria. These caveats disappear when Brouwer can use a popular melody of Víctor Jara as the basis for his theme and variations. It is an intriguing and resourceful score for guitar, that intensifies my admiration for the clarity and adroitness of Pedro Mateo González. Do explore the sounds of the bandurria, this immaculately recording coming as a product of Naxos’s Canadian recording team. © 2015 David’s Review Corner

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