– “Am meisten überzeugt zeigte sich die Jury schließlich vom […] ensemble La Guirlande. Mit ihrem in allen Facetten tief empfundenen, souverän-professionellen, perfekt aufeinander eingespielten Vortrag der Triosonate aus Bachs “Musikalischem Opfer” …”
– “Das […] ensemble «La Guirlande» bot ziemlich schwere Kost: Die Triosonate aus Johann Sebastian Bachs „Musikalischem Opfer“ ist ein Meisterwerk der Mehrstimmigkeit. «La Guirlande» schaffte es mit differenzierter Lautstärke und äußerst homogenem Spiel, die Schichten des Werkes freizulegen, und wurde dafür von der Jury mit dem ersten Preis …”
– “For the art of magic that is nowadays playing historical music on original instruments, committed performers are needed – devoted, learned, passionate about what they do. That is La Guirlande, a quartet that, with sobriety, elegance and passion had us in tense excitement between the recurrent ellipses in San Marcos church, in the heart of Madrid.
– “The Spanish chamber music ensemble made its debut with a wonderful programme dedicated to Bach, revealing their exceptional level.”
– “The 17th International Sacred Arts Festival goes on in its present edition, this time with one of the most impactful concerts I remember in these last times of an almost completely Spanish historicist ensemble. La Guirlande made their debut in this edition of the Sacred Arts Festival to bring to the public […] this wonderful programme intelligently titled In the Name of the Father.”
– La Guirlande’s performance was as surprising as it was overwhelming. […] The most visible head of the group is that of Luis Martinez, traverso performer who studied in the Schola Cantorum Basiliensis and is undoubtedly amongst the best players of this instrument in this country. […] He was brilliant, both in technical and expressive terms, without any superficial displays, keeping a dialogue when the piece asks for it and showing his virtuosity in the solo sonata. […] Alfonso Sebastián […] There are few performers in this country with the knowledge he possesses about Bach’s work. His profound knowledge, both from the keyboard […] as from theory is remarkable, and he therefore always contributes with an extra point to the ensemble with which he is collaborating. His versions are always refined, subtle, full of intelligence, with substantial rhetoric weight. And what can we say about his solo interventions. What we saw yesterday […] was world-class level harpsichord playing.
– […] Lathika Vithanage […] Impressive technique and sound coming from her violin in every moment. Her vision of Triosonata BWV 1038 was colossal […] as well as that of BWV 1079, and brilliant in her sonata for violin and obligato harpsichord. Her ability to move emotions with her medium-low register was colossal. […] Her fragile appearance is opposed to her extreme ability. Very few times have I seen a violinist flow in such a natural and apparently simple way while playing Bach. It is a pleasure to watch her enjoy herself in such an honest way, so obviously projecting her feeling outwards. Ester Domingo proved herself a highly skilled cellist, holding most of the discourse of the pieces. […] she was able to hold the tension and was during most of the concert at the really high level of her colleagues.
– In short, a concert at a very high level […]. A wonderful example of teamwork, in which one could appreciate the serious and detailed work, achieving […] a first-class performance for the audience, second to none of the great ensembles of the current music scene.”
– “Vithanage impressed for her technical skills and her elegance when playing, always accompanied by a wide smile that showed how much she was enjoying […] the music and the performance – her own and her colleagues’. Martínez’s sound was clear and warm, very warm, especially in that overwhelming Andante of Sonata 1034. Domingo was splendid both in continuo work and the main parts each of the four performers have in the Offer. And Sebastián was able to extract all substance from the beautiful sound of the Grimaldi harpsichord […] opposite him and on which he played a memorable version of the Prelude, Fugue and Allegro […].
– After listening to Bach played by such qualified hands, one has a feeling of reconciliation with the world. If it only were more than a feeling.”
– “… His performance neared technical perfection and the jury emphasized that quality, as well as the precise delivery and intonation at all times… the opening adagio sounded delicate, with a natural flow and a demonstration of synchronization in the breathy unison cadence. They [the ensemble] managed to show the difference in character between the agile Allegretto and the lively Allegro assai, where the virtuosity of some passages was highlighted, and again showed virtuosity in the long melodic phrasings of the first movement, with a masterful control of the tempo in the Andante, finally investing the remaining energy into the final Allegretto, combining virtuosity of vertiginous passages with punctual ritardandos. Simply spectacular.”
Eduardo Viñuela on La Nueva España. July 16, 2016
– “… La Guirlande opted for an approach with historically accurate performance – and with success! This flute and harpsichord duo entrusted their fate to the “Sonata for flute and harpsichord in D Major” by CPE Bach, convincing the jury with a rigorous perpetuum mobile in both allegros and a sense of dispersed measure in the adagio. They sounded precise and well together, as fluent in their delivery as is demanded by the piece …”
Eduardo Viñuela on La Nueva España. July 15, 2016
– “… Absolutely lyrical, the Sicilian movement that the flautist Luis Martinez Pueyo recreated, savoured all the notes, playing them as in the style of famous flutists such as Jaime Martin or Jean-Pierre Rampal himself. The passages, full of figurations of enormous vivacity, were used at the highest level by the musician from Zaragoza, who exhibited the surprising adaptation of baroque traverso for virtuosistic brilliance … “
– “Sebastian wowed the public with an intense sonority and excellent fingering, extracted from his magnificent instrument. The harpsichordist from Zaragoza […] is one more example of the stratospheric artistic level reached by Baroque musicians of Aragon “
Luis Alfonso Bes on Heraldo de Aragón. May 12, 2016
– “… Virtuos und zugleich feinfühlig interpretierte Luis Martinez Pueyo auf der Traversflöte die Solostücke in den Flötensuiten von Jacques-Martin Hotteterre …”
Hans Jürgen Kugler on Badische Zeitung. February 25, 2015