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Kenneth Keaton
American Record Guide, May 2015

The real find here is Carlo Domeniconi’s Fantasie d’Oriente e d’Occidente. It’s a beautiful work, a bit reminiscent of the popular Koyunbaba, and it gets a loving performance.

Fine music, beautifully played—some old favorites, some new discoveries. © 2015 American Record Guide Read complete review on American Record Guide



Giv Cornfield
The New Recordings, Cliffs Classics, February 2015

The Canadian-German team of Dale Kavanagh and Thomas Kirchoff have been concertizing and recording all over the globe for a quarter century. It has been a long time since this reviewer has had the pleasure of hearing recordings by guitar duos of such high caliber. The program for this Naxos album consists of baroque and later music in roughly equal parts, but always in good taste and compatible with the medium. The recorded quality is beyond cavil, with generous notation. This is an album to be cherished and enjoyed repeatedly. © 2015 The New Recordings, Cliffs Classics



David Denton
David's Review Corner, January 2015

‘Through The Centuries’ brings together music for two guitars, both original and in transcriptions, performed by one of today’s highly acclaimed international duos. I have searched in vein through the pages of the enclosed booklet to find the anonymous arrangers, regrettably in the case of the Handel, where the sound of the harpsichord is recreated in the final Passacaglia. From the same era the three excerpts from Telemann’s Partita polonaise sounds uncannily like the two lutes for which they were composed, with a very comely Rigaudon. Coming into the next century, Johann-Kaspar Mertz’s two pieces from Funeral Laments was written for two guitars, the first piece cast in an appropriate sombre mood. We then jump forward to 1946 for Franz Burkhart’s Toccata, a piece that drives forwards with the performers having to keep a perfectly matched dynamic voice as the work emerges as coming from one instrument. The following year Carlo Domeniconi took guitar music into the world of atonality, as we discover Fantasia d’oriente e d’occidente, a score that only received its premiere in 1995 when it was performed by the Amadeus. Complex and challenging, it is very different to Mario Gangi’s tuneful, Suite spagnola, the Italian composer looking at a colourful postcard Spain. Throughout the Canadian/German duo seem so attuned to a wide spectrum of music, their playing so neat and technically faultless. I understand this is their first of a series for Naxos, a prospect we will greatly look forward to. © 2015 David’s Review Corner





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