{"id":662,"date":"2015-12-29T14:47:34","date_gmt":"2015-12-29T13:47:34","guid":{"rendered":"https:\/\/laguirlande.com\/REPLACE\/prensa\/?lang=en"},"modified":"2026-03-31T16:17:33","modified_gmt":"2026-03-31T14:17:33","slug":"reviews","status":"publish","type":"page","link":"https:\/\/laguirlande.com\/en\/reviews\/","title":{"rendered":"Reviews"},"content":{"rendered":"

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PRESS REVIEW<\/p>\n

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\u00ab[…] La Guirlande,<\/span><\/span><\/span> […] offered a precise and precious recital that was much more than a journey through the Baroque.<\/p>\n

The ‘Sonata for flute and obbligato harpsichord in B minor BWV 1030’ was performed by Martinez<\/span><\/span><\/span> and Sebasti\u00e1n<\/span><\/span><\/span> with great precision and restrained lyricism.<\/p>\n

What resulted in practice was the feeling of having attended a special and unique musical evening, in the noblest sense of the term and the craft: intimate, challenging, performed to be heard with all the senses, where the flute and harpsichord joined forces to build a sonic bridge between the family and its generations.\u00bb<\/p>\n<\/div>\n

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El Diario de Huesca<\/em><\/a>. August 13 2025<\/p>\n

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\u00ab[…] No mas mudo, mi Dios […]. In the first recitative, the quality and poise of the instrumentalists who made up the basso continuo was immediately apparent. With a dazzling, imaginative and neat introductory chord, Joan Boronat on the harpsichord introduced its harmonies, which quickly gave way to his aria. […] The solo played in this piece on the flute by Luis Martinez Pueyo<\/span><\/span><\/span> was, as in the rest of the evening, of maximum sonorous beauty, contributing, in addition to the sonorous beauty on the flute, an execution in the phrasing of exemplary understanding and development, contributing, in addition to his exquisite intonation, a very elaborate musical dialogue between all the members of La Guirlande<\/span><\/span><\/span>, both in articulation and in dynamics.<\/p>\n

[…] Alberto Migu\u00e9lez Rouco<\/span><\/span><\/span>, […] knew how to maintain at all times the correct sound volume of the affections towards the text, which thus showed pianos and pianissimos of a delicacy and sonorous beauty that enlarged the already beautiful vocal colour of Alberto Migu\u00e9lez Rouco<\/span><\/span><\/span>‘s timbre. We must also emphasise the great mastery of fiato and phrasing, which provided a delicate expression of each and every one of the melodies of the concert [\u2026].<\/p>\n

The third Lamentation of Holy Thursday, Aleph. Ego vir videns, […] deserves our special attention, since it is a composition to which special care must be taken in its interpretation, […], as it possesses in its construction internal tricks that were gracefully discovered and exposed by La Guirlande<\/span><\/span><\/span>, especially in terms of articulation, forming an interpretation of unique richness, variety and expression skilfully achieved together with the vocal soloist. The two violinists, Jes\u00fas Merino<\/span><\/span><\/span> and Andres Murillo<\/span><\/span><\/span> were very caring and attentive in this, subtle and sensitive, contributing beautiful, effective and well-worked registers of evocative sonorities. We should add that the text declaimed in its phrases by Alberto Migu\u00e9lez<\/span><\/span><\/span> was absolutely intelligible.<\/p>\n

The two cantatas that completed the programme, El Pastor amoroso and Qu\u00e9 es esto amor, corroborated the neatness, love for the music performed and the great feeling of belonging to a chamber ensemble that transcended the impeccable qualities of each and every one of its members.<\/p>\n

[…] Hyngun Cho<\/span><\/span><\/span>, who throughout the evening displayed a beautiful sound of the instrument in all its register, especially in the treble of pristine intonation and evocative sonority, as well as demonstrating a rotundity in the phrasing of the legato passages that greatly enriched the harmonic base, his phrasing standing out vehemently when necessary.<\/p>\n

The instrumental works in the concert showed a group committed to our musical heritage, working seriously, inspiringly, carefully and dynamically.<\/p>\n

After the last piece, the warm and explosive ovation of the crowded chamber hall of the Auditorio Nacional, received as an encore the beautiful aria Sol da te, mio dolce amore, from the opera Orlando Furioso by Antronio Vivaldi, whose flute solo, as extremely virtuosic as it was beautiful, was played in an exceptional way by Luis Martinez Pueyo<\/span><\/span><\/span>.\u00bb<\/p>\n<\/div>\n

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Sim\u00f3n Andueza on Ritmo<\/em><\/a>. April 7 2025<\/p>\n

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\u00abThe success in the Pr\u00edncipe Felipe auditorium in Oviedo could not have been more resounding.<\/p>\n

The audience, […], enjoyed the know-how of the ensemble “La Guirlande”, a consolidated ensemble on the national and international scene for the rigour of its performance praxis. […] the group showed its versatility by varying the participation of its members but without diminishing its brilliant performance […].<\/p>\n

On stage they were accompanied by Alberto Migu\u00e9lez Rouco, […], who approached with great aplomb his interventions in the recitatives and ariass of the Spanish cantadas, displaying a great musicality that contributed in elevating the emotion of the musical evening. With ease in overcoming the coloratura, the countertenor excelled in the cantata to the Blessed Sacrament “Qu\u00e9 es esto, amor” […] and, especially, in the work that gave the programme its title, “El pastor amoroso” [\u2026].\u00bb<\/p>\n<\/div>\n

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Jonathan Mallada \u00c1lvarez on La Nueva Espa\u00f1a<\/em><\/a>. April 2 2025<\/p>\n

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\u00ab[…] two talented singers: mezzo-soprano Luc\u00eda Caihuela and contralto Marine Fribourg […], both gifted with a moderately soft voice, well timbred, always pleasant, which they use with the necessary lightness, sensitivity and personal commitment, qualities that make the ensemble convincing and at times very moving […]. No less effective is the interpretation of the instrumental ensemble La Guirlande […], which breathes life into a very delicate sound fabric, fully in tune with the expressive climate of these compositions, also thanks to a timbre that the traversos know how to make even sweeter and more pleasant. The result is a very interesting recording that reveals an inspired composer of sacred music who deserves special attention. Added to this is the elegance of the graphic presentation and the completeness of the material in the extensive booklet […].\u00bb<\/p>\n<\/div>\n

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Claudio Bolzan on Musica<\/a><\/em>. February 2025<\/p>\n

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\u00abWhen the listener starts to experience this excellent album by the group La Guirlande, [\u2026] they will not be able to stop listening until they finish it.<\/p>\n

\u00a0<\/div>\n
[…] the voices of soprano Luc\u00eda Caihuela and contralto Marine Fribourg blend perfectly, giving dramatic character to the work, with excellent control of vibrato and expressiveness throughout the disc. The use of one instrument per part allows for a more chamber-like sound, lending transparency to the texture of the works and emphasising the dissonances […].<\/div>\n
\u00a0<\/div>\n
The basso continuo, […] sounds rich and well realised, with good presence of the harmonic instruments. Luis Mart\u00ednez Pueyo’s conducting is attentive and precise […] with energetic tempi in the fast movements and lyrical in the slow ones. In the Moderato of the Lamed. Matribus suis dixerunt (1746) the beautiful dialogue between violins and flutes stands out, establishing a charming question and answer game. All in all, a highly recommendable recording on the Lindoro label, with very detailed information in the booklet and making use of original instruments and historical interpretative criteria to approach the composer in a faithful way.\u00bb<\/div>\n<\/div>\n

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\u00c0ngel Villagrasa P\u00e9rez on Mel\u00f3mano<\/a><\/em>. January 2025<\/p>\n

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\u00abLa Guirlande, […] offers us on its third CD one of those resplendent gems that rejoice the mind and the senses.<\/span><\/p>\n

[…] this world premiere recording of Corselli’s Lamentations of Holy Week is of the highest interpretative level. Both the vocal soloists and the instrumental group give a masterclass in neatness, good taste, musicality, style and ensemble.<\/p>\n

Mezzo Luc\u00eda Caihuela continues to reaffirm herself with each work she performs as one of the undisputed personalities of the Spanish historicist vocal scene. Here she stands out as the sharpest and most virtuosic treble soloist, giving us her beautiful timbre and good musical taste. Marine Fribourg is her perfect partner in the lower voice, both of them completing a marvellous chamber music job. Luis Mart\u00ednez Pueyo admirably directs and inspires La Guirlande’s excellent group of instrumentalists, […] from the delightful first violin to the colourful basso continuo.\u00bb<\/p>\n<\/div>\n

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Sim\u00f3n Andueza on Ritmo<\/a><\/em>. November 2024<\/p>\n

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\u00abThe five [lamentations] included in this recording are a fine example of Corselli’s inspired and masterful vocal writing, which receives a splendid interpretation. The two singers take advantage of the elaborate vocalisations over the Hebrew words to deploy a sinuous and carefully accented singing, which is followed by detailed phrasing and attentive to the expression of rhetorical effects. A dark-toned soprano and a light-coloured mezzo blend perfectly and intertwine masterfully in the fugal passages at the end of each lamentation. Mart\u00ednez Pueyo is superb both on solo flute and at the head of the ensemble.<\/span>\u00bb<\/p>\n<\/div>\n

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Andr\u00e9s Moreno Meng\u00edbar on Scherzo<\/a><\/em>. November 2024<\/p>\n

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\u00abLuis Mart\u00ednez, traverso, Sergio Su\u00e1rez, violin, and Guillermo Turina, cello, started the evening […], showing from the very beginning a strict conjunction and a splendid sonority.<\/p>\n

[…] the sonority of the trio was kept at the same level of excellence […].<\/p>\n

The precision of the tremolos by Luis Mart\u00ednez are worthy of mention […].\u00bb<\/p>\n<\/div>\n

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Francisco Javier Aguirre on Heraldo de Arag\u00f3n<\/em><\/a>. June 6 2024<\/p>\n

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\u00abLa Guirlande is an outstanding period-instrument ensemble […]. Luis Martinez, […], shows himself to be a fluent, sensitive and highly accomplished artist. I was also very favourably impressed by the violinists Lathika Vithanage and Aliza Vicente. Harpsichordist Joan Boronat shows himself to be intelligent and skilful as part of the continuo section throughout (in which cellist Ester Domingo also impresses), and is a splendid soloist in the Sonata by Jos\u00e9 de Nebra. Soprano Alicia Amo has an attractive voice […].<\/span>\u00bb<\/p>\n

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Glyn Pursglove on Music Web International<\/em><\/a>. May 16 2024<\/p>\n

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\u00abAll these qualities could be fully appreciated during the concert thanks to an outstanding performance. The vocal part was performed by the Mallorcan soprano Irene Mas Salom and the French mezzo Marine Fribourg. Both showed an overwhelming confidence, translated into an enviable intonation and a remarkable technical mastery, but above all in a perfect balance between expressiveness and the restraint demanded by the character of this music. Suspensions, intricate rhythms and inflections always found their just measure, with a perfectly controlled vibrato and a clean and clear emission. Mas Salom is an elegant soprano, with a voice of beautiful timbre, and showed good agility in the more melismatic passages. Marine Fribourg, for her part, is a very versatile musician […], with an attractive fleshy timbre, homogeneous register and well projected bass. When they sang together […] they understood each other to perfection and we were able to enjoy two singers with personality.<\/p>\n

The instrumental support was at an equally high level. \u00a0The violin accomplices of Jes\u00fas Merino and Andr\u00e9s Murillo were superb, carrying much of the weight of the works; as always, Fumiko Morie on viola and Joan Boronat on harpsichord were formidable, two great musicians who transmit their enthusiasm in each of their interpretations and convince us when we see them play that we are listening to the best music ever composed. And in general, a great job done by La Guirlande and its director Luis Mart\u00ednez Pueyo, who have studied and managed to make this beautiful music shine, making the most of it, with a balanced, well-pasteurised sound, very well blended with the voices.\u00bb<\/p>\n

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Imanol Temprano Lecuona on Scherzo<\/em><\/a>. April 9 2024<\/p>\n

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\u00abIn collaboration with Ars Hispana, the Aragonese ensemble once again showed its clear commitment to the Spanish musical heritage, in a proposed programme alongside mezzo-soprano Luc\u00eda Caihuela that captivated because of both the quality of the chosen repertoire as well as the very vivid and solid performances of those involved.\u00bb<\/p>\n

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\u00ab<\/em>Luc\u00eda Caihuela […] continues to show her impressive vocal moment, with a timbre of enormous beauty which has gained a marvellous personality, with a great range in a high register that does not open up and maintains the warmth and coppery colourings of a mid-low register of rich nuances, sustaining an extremely elegant singing line and very careful diction here […]. In the very amorous Aria “Ven, alma m\u00eda” there was a beautifully crafted duo with the traverso of Luis Mart\u00ednez Pueyo \u2013 the other great protagonist of the evening and leader of the group \u2013 who presented a very neat and organic phrasing and sound, together with a voice full of character in the middle range and with a brilliant, very rested high register. The violin parts were very well shaped in the hands of the extraordinary australian violinist Lathika Vithanage \u2013 who possesses an exquisite sound and a rapturous energy \u2013 accompanied by the spaniard Sergio Su\u00e1rez. The continuo was presented with enormous solvency, thanks to four very gifted instrumentalists for these cases: Ester Domingo on baroque cello, Pablo Zapico alternating the archlute and baroque guitar, Silvia Jim\u00e9nez on baroque double bass and Andr\u00e9s Alberto G\u00f3mez seated at the harpsichord. Excellent here were Domingo’s smoothness and a very richly ornamented archlute. They all elaborated a very expressive B section of the aria, before giving way to a da capo in which the voice presented a very firm and crisp treble, well worked in the duo with the traverso, also showing very fluid agilities.<\/em><\/p>\n

The Trio sonata I in C major […] began with a Moderato in a very suggestive dynamic approach, exquisitely developing the writing in scales, linking the traverso\/violin duo with extreme musicality, a great understanding between the two and with perfect intonation \u2013 the presence of the two in the ensemble greatly amplifies the artistic contribution proposed by La Guirlande \u2013. The contribution of a succulent continuo was highlighted in the sound and expression provided by Domingo’s cello. The central Adagio was again built on an outstanding approach to dynamics and a very subtle transfer of motifs between the lines, with the phrasing elaborated here by the traverso standing out. A movement enriched by the very effective details of the continuo members \u2013 articulation, ornamentation and richness of timbre \u2013. It concluded with a Tempo di Minuetto in a very intelligent work on the main melodic theme, the homophonic passages being exquisitely elaborated by the traverso\/violin duo. Zapico’s continuo on the guitar was undoubtedly a qualitative extra, both for his knowledge of the development of the continuo and for the excellence of his playing.<\/em><\/p>\n

The recitative “El grosero sayal de su pobreza” was full of vocal warmth, again with very well managed diction and a very firm and refined continuo. The Aria (Spiritoso-Despacio) […], was one of the moments of greatest sonic and emotional impact of the whole evening, especially for the peace and finesse of the Madrid singer’s voice and presence. Sung without traverso, […], the instrumental ensemble managed great balance between the parts and gave the necessary prominence to the voice, which on the other hand offered a da capo of impeccable presence in the lower register, with a limpid and smooth treble, designing some ornamentations that stood out for their enormous taste and singing beauty.<\/em><\/p>\n

\u201cAplaudan las ondas”, […], beginning with a very well elaborated recitative on a prosodic level in the voice, an example of singing “on the air” of enormous expression. The Aria (Allegro gustoso) “Del valle al alto monte”, of a more animated character, in which Caihuela defended herself with equal solvency, defining a crisp and energetic coloratura, defending the wide expanse of the aria with firmness […]. The orchestral work shone equally well in an aria of evident musical quality.<\/em><\/p>\n

Surprising in their quality, they were intelligently defended by Andr\u00e9s Alberto G\u00f3mez, playing both keyboards with dynamic variety, describing the scale passages with care and a sound of notable delicacy in the Adagio, before moving on to a Presto of much more intricate writing, with a marked rhythmic writing very well described here. Great expressive work on the silences, as well as resolving the elaborate passage, of outstanding virtuosity, exceptionally well.<\/em><\/p>\n

The performance included […] “Yo m\u00e1s no puedo hablar”, Cantada al Sant\u00edsimo [1768] […] […]. The agilities came comfortably sculpted, supported by some rather agitated violin writing, the strumming on the archlute giving a special colour and character to the continuo. The expressive chromaticism came through well enough, before concluding the aria with a vocal cadenza in which the high register resonated very focused and rounded.<\/em><\/p>\n

The programme closed with \u201cRespira sin temor”, Cantada a la Pur\u00edsima Concepci\u00f3n [1750], […], whose Aria (Allegro spiritoso) “Jilguerillos bulliciosos” vibrated with a traverso elaborating the\u00a0melody with truly delicate phrasing, supported by highly effective violins and a richly ornamented continuo of great constructive solidity. The elegance and brilliance of the voice once again resounded through the huge nave, with enviable intonation care and assured presence. A spectacular vocal performance, supported by a tutti that moves with great comfort in these repertoires.<\/em>\u00bb<\/em><\/p>\n

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Mario Guada on Codalario<\/em><\/a>. March 10 2023<\/p>\n

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\u00abLa Guirlande sounded as good as we have become accustomed to. Once again it featured the Australian violinist [Lathika Vithanage] […] It is a pleasure to listen to her and, above all, to see her play, because she always has a smile on her face. Mart\u00ednez Pueyo himself was brilliant on the traverso and both in harmony with the rest of the members of the ensemble.<\/p>\n

Caihuela showed that peculiar voice of hers, so dark and powerful, and boasted means, confidence and even ease in reaching the highest notes.\u00bb<\/p>\n

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Eduardo Torrico on Scherzo<\/em><\/a>. March 3 2023<\/p>\n

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\u00abLuis Mart\u00ednez<\/span> has chosen pages where his instrument shines as a soloist or blends with Alicia Amo<\/span>‘s voice, such as the beautiful Cristal bello by Ignacio Jerusalem y Stella, admirably defended by elegant strings and Joan Boronat’s very pertinent continuo on the harpsichord.<\/p>\n

Alicia Amo<\/span>, a soprano with a beautiful presence, defends Jaime Casellas’ religious cantata Inmenso amor with conviction.<\/p>\n

This largely unedited anthology is seductive and benefits from a superlative sound recording.\u00bb<\/p>\n<\/div>\n

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Philippe Ramin on Classica<\/a><\/em>. April 2022<\/p>\n

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\u00abOnly unreserved praise can be given to soprano Alicia Amo and flautist Luis Mart\u00ednez. La Guirlande is an indisputable reference in historical performance. Its members are excellent chamber musicians, and their versions are always attractive.<\/p>\n

This is a CD that every lover of baroque music and musicological treasures should own and enjoy.\u00bb<\/p>\n<\/div>\n

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Antonio Arias on Todo Flauta<\/em>. March 2022<\/p>\n

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\u00abWe find moments of intense vocal emotion combined with greatly sophisticated instrumental passages of 18th Century Mexico and Spain.<\/p>\n

Luis Mart\u00ednez used his instrument […] with an exceptionally flexible and warm playing, becoming the perfect partner for the soprano Alicia Amo. […] Alicia Amo has an ideal voice for this kind of repertoire, which she masters in a virtuosic manner and with an intelligent, effortless and lively embellishment of the ornamental melodic substance.<\/p>\n

The ensemble of six instrumentalists, with both soloists leading, is made up of two violins, cello, lute, double bass and harpsichord, sound in an homogenous way giving meaning to the proposal.<\/p>\n

This recording is an exciting discovery for all lovers of Spanish baroque music!\u00bb<\/p>\n<\/div>\n

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Wolfgang Reihing on Toccata<\/a><\/em>. January 2022<\/p>\n

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\u00abIn the first work, Cristal Bello, we appreciate a very well-developed coloratura in the melismas, a pleasing vocalization, and ornamentation rich in fantasy. Great theatricality is noticeable throughout the third work, Inmenso amor, […] where Alicia nonchalantly breezes through recitative and arioso, very comfortable in both modes. The sumptuous continuo, very attentive to dynamics, tempo and pauses, stands out in the Allegro. The vocal pearl is to be found in Illana’s Vivaldian aria, Erizada la noche, where legatos of great warmth are recorded in the face of a fierce storm. In S\u00edgueme Pastor, a beautiful duet between soprano and flute seals a sweet, intimate and seamless performance. Boronat at the keyboard shines […] in Nebra’s Sonata de 8\u00ba tono, impeccable in articulation and ornamentation. The continuo is outstanding in the fast movements of the Sonata in G minor for flute […], to Mart\u00ednez’s delight, and in the slow tempos of Versos de segundo tono, where one can appreciate an ensemble breathing very appropriate to the musical rhetoric. To summarise, quality and little to question in a recording that borders on excellence and which, moreover, is a breath of fresh air for the Spanish musical heritage.\u00bb<\/p>\n<\/div>\n

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Carlos Garc\u00eda Reche on Mel\u00f3mano<\/a><\/em>. November 2021<\/p>\n

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\u00abIt hardly needs to be said that everything on this album deserves special mention. The repertoire […], first of all. And the musicians as well.<\/p>\n

The soprano […] Alicia Amo, who performs this forgotten music with emotion and dedication; the harpsichordist Joan Boronat, who unravels a beautiful sonata with a Scarlattian touch by Jos\u00e9 de Nebra; and Luis Mart\u00ednez Pueyo, magnificent as a flautist […], extracting from his group, La Guirlande, a round and seamless sound, and unleashing with grit and force a music in which […] he believes. Great album.\u00bb<\/p>\n<\/div>\n

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Mariano Acero Ruil\u00f3pez on Scherzo<\/a><\/em>. November 2021<\/p>\n

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\u00abLa Guirlande, […] created and directed by the flautist Luis Mart\u00ednez Pueyo, has joined forces with the soprano Alicia Amo in a happy encounter in which they formidably perform music of a very high quality, which deserves to be discovered by every good music lover.<\/p>\n

Both the soprano, with her warm voice, which has reached a spectacular maturity that allows her to tackle all kinds of repertoire with a solid technique, good taste and excellent expressiveness, and each and every one of the members of the instrumental group, violins of beautiful and full sound, a basso continuo full of formidable musicians who confer one and a thousand affects to these gallant pieces directly influenced by the Baroque, up to the superb virtuoso flautist who is their enthusiastic conductor, sign an exquisite CD that should be in any self-respecting CD library.\u00bb<\/p>\n<\/div>\n

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Sim\u00f3n Andueza on Ritmo<\/a><\/em>. November 2021<\/p>\n

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\u00abThe undersanding between the three performers was totally evident, maintaining an interesting dialogue throughout the whole concert.<\/p>\n

Ester Domingo gave a brilliant performance […], standing out for the technique and expressiveness she transmitted during this demanding piece. The harpsichordist was not a mere accompanist and made a great realisation of the bass, complementing the cello to perfection.\u00bb<\/p>\n<\/div>\n

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Teresa Pueyo on Diario del Alto Arag\u00f3n<\/em>. August 27 2021<\/p>\n

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\u00abCoherent approach and outstanding performance by La Guirlande, […] efficiently put together by the flutist Luis Mart\u00ednez.<\/p>\n

Vadym Makarenko excelled an exquisite musicality in his performance, elegant as well as consistent.<\/p>\n

[…] Ester Domingo […], accompanied by […] Joan Boronat and […] Pablo FitzGerald. A serious piece which the cellist deciphered with great skill.<\/p>\n

The turn for the solo flute piece […], a sonata demanding in virtuosity and musical sense, well resolved by Luis Mart\u00ednez and the ensemble.\u00bb<\/p>\n<\/div>\n

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Francisco Javier Aguirre on Heraldo de Arag\u00f3n<\/em>. May 16 2021<\/p>\n

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\u00abOutstanding concert given by the ensemble La Guirlande.<\/p>\n

The soprano Alicia Amo, with clear diction, precise articulation, sparkling vibrato and notable expressiveness, took care of the vocal compositions.<\/p>\n

[…] \u201cSonata de 8\u00ba tono\u201d for harpsichord, by Jos\u00e9 de Nebra, performed with harmonious assurance by Joan Boronat.<\/p>\n

Luis Mart\u00ednez […] demonstrated all his skills in the four movements of the piece. Long and refined sonority that of the traverso, well adjusted tempi and good ensemble playing by the trio in the performance of variations and inflextions.\u00bb<\/p>\n<\/div>\n

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Francisco Javier Aguirre on Heraldo de Arag\u00f3n<\/em>. March 19 2021<\/p>\n

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\u00abAlicia Amo, […],put forward her extraordinary means and her effortless musicality.<\/p>\n

The fresh voice, well placed at all times, homogeneous, easy in the higher register, dramatic in the recitatives, intentional in the expression, of the soprano from Burgos was just one of the elements in these performances of extraordinary balance and of a very high technical and musical level. Interwoven with her voice were the obligato traverso of Luis Mart\u00ednez, the two violins and a large continuo team that not only gave support to the soloist parts in an elegant, flexible and profound way, but also had juicy interventions, such as Pablo FitzGerald on the archlute in the Versos de segundo tono <\/em>by Jerusalem and on the guitar in Beninge fac<\/em> at the end of the concert, or Ester Domingo on the cello in the fast movements of the Sonata by Locatelli, which Mart\u00ednez performed with total neatness and security. Vadym Makarenko’s relaxed, lyrical and fleshy first violin was also a highlight.<\/p>\n

The balance between these four sound levels ensured that the instrumental textures were always transparent. The ensemble shone both in the most delicate and tender parts as well as in the roaring aria by Hern\u00e1ndez Illana which have title to the concerts, in which the attacks were more sharp and the contrasts more intense, with ample dynamics. The aria by Iribarren of the encore served only to confirm the excelence of the event.\u00bb<\/p>\n

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Pablo J. Vay\u00f3n on Diario de Sevilla<\/em><\/a>. March 18 2021<\/p>\n

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\u00abThe performance of his beautiful Sonata in G minor […], which allowed Luis Mart\u00ednez Pueyo to display his skills, taking the main responsibility in the musical execution of this work with the marvelous collaboration of the harpsichord player Joan Boronat, who assumed his important role as polyphonic unifier with his accompaniment.<\/p>\n

The soprano Alicia Amo […] reached that point of dramatism in which the music justified the words and vice versa, showing an expressive tension that captivated the listener, a degree of artistic response that she maintained throughout the programme. In this work, the fine understanding between the rest of the members of La Guirlande was confirmed […]. Each of these players, showing an outstanding expressive individualization, performed this repertoire with spontaneous and at the same time rich collective musicality.\u00bb<\/p>\n

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Jos\u00e9 Antonio Cant\u00f3n on Scherzo<\/em><\/a>. December 8 2020<\/p>\n

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\u00abAll three members of La Guirlande, on this ocassion its founder Luis Mart\u00ednez on the traverso, the cellist Ester Domingo, and the violinist Vadym Makarenko, made of this freshness and naturalness the keys in order to make this small chamber music sound grand. They demonstrated good ensemble work with a unified sound, varied phrasing, adequate for the style, thus achieving a faithfulness to what this music must have sounded like in Haydn\u2019s time.\u00bb<\/p>\n<\/div>\n

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Juan Carlos Galtier on Heraldo de Arag\u00f3n<\/em>. August 2 2020<\/p>\n

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\u00abIt is precisely to these itinerant characters to whom La Guirlande dedicates their new album, Spanish Travelling Virtuosi, <\/em>without a doubt one of the most interesting and carefully elaborated projects of musical recovery in the last years.<\/p>\n

Needless to say, the good work of the performers, who show extreme skill, with a phrasing and a balance of sound refined down to the detail. Without a doubt, after this album La Guirlande will go on to consolidate its trajectory as one of the most outstanding historicist groups on the national scene.\u00bb<\/p>\n<\/div>\n

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Luc\u00eda Mart\u00edn-Maestro Verbo on Mel\u00f3mano<\/em><\/a>. June 3 2020<\/p>\n

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\u00abThe Spanish soprano and ensemble come together in a programme put together by Ars Hispana [\u2026] offering pieces [\u2026] played at a very high standard.\u00bb<\/p>\n

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\u00abIt is an aria of great beauty, performed with a magnificent fluency in the phrasing of the violins of Lathika Vithanage and Aliza Vicente, whose work throughout the concert in the unison passages was outstanding, achieving a remarkable musical rapport. For her part, the soprano from Burgos [Alicia Amo] began by demonstrating a fine diction, [….] with very fitting ornamentation in the aria\u2019s da capo, showing an adequate vocality to the repertoire, of beautiful timbre, with good projection and an interesting elegance in the phrasing. Pablo FitzGerald\u2019s continuo playing on the archlute was magnificent, imaginative and judicious.<\/em><\/p>\n

Mart\u00ednez Pueyo’s traverso flowed with powerful effortlessness, with a very clean sound, good air control and an interesting use of articulation. First rate Spanish traverso players are few in number at the present time; he can certainly count himself to be one of them. On her part, Amo offered an intelligent vocal discourse, well adapted to the character and style of the piece, showing a voice that runs well in the high register, sounding natural and in no way forced, in addition to the rather polished enunciation, especially in its medium-low register, which also brought beautiful coloration to the discourse. The two soloists achieved equilibrium between them very succesfully. In the coplas, the continuo finely draws out the rhythmic character of the writing, the baroque guitar ornamenting the continuo in an intelligent manner, accompanying a traverso that neatly profiled the scale passages of the piece.<\/em><\/p>\n

Especially well accomplished was the balance between the more rhythmically delineated parts with other legato articulated passages, as a well achieved impact with the B part of the aria, showing that contrast with the A part and its da capo, where the violins had already shown an impeccable unison […]. Once again, the lute stood out […] in a continuo of great luminosity and sound impact.<\/em><\/p>\n

The last of the vocal works […] began with an instrumental introduction of great sound presence, very good balance between the instrumentalists and fine work in the passages in unison, which was followed by the Area \u2013 Allegro \u2013 resulting in a luminous introduction contrasting the passages to tutti and solo, with some agilities well resolved by the voice. Once again great work in the aria, with a careful diction and a dialogue construction with a beautiful result, as well as a very convincing consistency between contrasting blocks, in which the da capo showed remarkable imagination in the treatment of the voice line, as well as in the outstanding accompaniment.<\/em><\/p>\n

[…] performed with solvency by Joan Boronat, showing a magnificent agility in the right hand, a very natural phrasing, avoiding any trace of mechanical reading, making intelligent use of the play between the two keyboards in very specific passages, offering a reading quite free agogics and an accomplished contrast between tension and distension of the piece. […]\u00a0\u00a0a magnificent version by Vithanage and Vicente, with an exemplary work of unison, taking great care of the sound in order to offer highly refined readings that brought out the very best the compositions. Especially noteworthy was the work offered in one of the pieces, whose development of the canon resource demonstrated a deft work of imitation between the two violins, contrasting with a sobre work in the continuo […] whilst being developed with great imagination […]. Mart\u00ednez Pueyo surprised the public with polished sound readings, with special regard to his air control and its musicality. He was also brilliant and technically impeccable in the fast movements, accompanied by a soberly constructed continuo, providing a discourse that supports the leading soloist, without trying to provide an intensity of sound that could distort the solo line, but holding it and providing colour.<\/em><\/p>\n

It was a program […] carried out with an important work by one of Spain\u2019s ensembles with greatest projection and whose work today is among the most interesting. Amo’s contribution added much to a programme of this calibre, as did the playing by the two exceptional violinists. All this supported by a continuo of high level; each of them embracing the other great protagonist of the night, a traverso player who is surely called to do important things.\u00bb<\/em><\/p>\n

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Mario Guada on Codalario<\/em><\/a>. March 10 2020<\/p>\n

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\u00abIn-between the vocal pieces [\u2026] La Guirlande introduced several instrumental ones: the Sonata de 8\u00ba tono by Jos\u00e9 de Nebra \u2013 very scarlattian, wonderfully performed by the harpsichordist Joan Boronat \u2013, some Versos de segundo tono by De Jerusalem \u2013 in which the Australian violinist Lathika Vithanage proved why she is considered to be one of the finest specialists on her instrument to have emerged over the last few years, ably supported by her colleague Aliza Vicente \u2013 and the Sonata N\u00ba6 op. 2 in G minor for flute and continuo by Pietro Antonio Locatelli, which gave the leader of the ensemble, Luis Mart\u00ednez Pueyo, a chance to show his skills, always with an admirably produced sound emission, crystalline and refined.<\/em><\/p>\n

The soprano Alicia Amo sang with the exquisite sweetness that is so characteristic in her, overcoming with little difficulties any problems that came in her way \u2013 some of them which were indeed tricky \u2013 [\u2026]. Both singer and ensemble performed to the very highest level, without the slightest flaw or weakening: both violins were magnificent, the flute was splendid and the basso continuo was sumptuous, comprising the aformentioned Joan Boronat, Ester Domingo \u2013 cello \u2013 and Pablo FitzGerald \u2013 archlute and guitar \u2013.\u00bb<\/em><\/p>\n

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Eduardo Torrico on Scherzo<\/em><\/a>. March 6 2020<\/p>\n

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\u00abHistorical performances of the highest quality from the ensemble La Guirlande, especially brilliant was that of its founder, the flute player Luis Mart\u00ednez Pueyo.\u00bb<\/p>\n<\/div>\n

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Salustio Alvarado on Ritmo<\/em><\/a>. February 2020<\/p>\n

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\u00ab<\/em>All these works are presented with absolute exquisiteness and refinement in the instruments by an ensemble so promising and in such a clear rise as La Guirlande [\u2026] Their artistic attributes are not only evident in the technical capacities of their members, [\u2026] but in a united feeling of timbre and rhythm, connected to a well maintained sense of phrasing and use of cadences. All the soloists, starting by the flute player himself in the Pla sonatas, Ester Domingo on the cello in the piece by Facco or Joan Boronat in the solo harpsichord piece Corrente italiana <\/em>by Joan Cabanilles \u2013 <\/em>as well as a splendid accompaniment in the continuo throughout the whole CD \u2013<\/em> show such self-confidence and assurance and excepcional sound quality.<\/p>\n

The album is benefited by a splendid sound recording made at the Palace of the Conde de Aranda in the city of \u00c9pila, Zaragoza.\u00bb<\/em><\/p>\n

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Germ\u00e1n Garc\u00eda Tom\u00e1s on Opera World<\/em><\/a>. November 21 2019<\/p>\n

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\u00abI think I fall short in saying it is the best thing I\u2019ve heard this year, a project which brings together the recuperation of works of a more than considerable value, along with a sublime interpretation, simply outstanding [\u2026] With this CD, La Guirlande reaffirms itself as one of the ensembles with greatest projection and talent in the current panorama in Europe. <\/em><\/p>\n

As I said, they have taken special care in the edition, recording, performance, design, repertoire, and worthy of special mention are the wonderful CD notes written also by Luis Mart\u00ednez \u2013 it is marvellous that the performers themselves write the texts of their own recordings \u2013 where one can find detailed information on the chosen pieces. <\/em><\/p>\n

Displaying their excellent domain on the instrument, the performers do not only make their instruments sound, they sing and speak, dialogue, displaying their excellent rhetoric in search of the meaning that so often is lost in nowadays\u2019 performances.<\/em><\/p>\n

In definitive a \u201cmust have\u201d recording in the library of any enthusiast of this fascinating period.\u00bb<\/em><\/p>\n

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Pedro Pablo C\u00e1mara on Docenotas.com<\/em><\/a>. October 7 2019<\/p>\n

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\u00ab<\/em>On the CD we are presenting, with an inspired and original theme, the ensemble shows exquisite musicality. Their versions contain historical accuracy and a refined freshness, rediscovering\u00a0 a repertoire both unusual and fascinating. We can only praise this magnificent ensemble, who can be assured of the great career which lies ahead of them.\u00bb<\/em><\/p>\n

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Antonio Arias on Todo Flauta<\/em>. October 2019<\/p>\n

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\u00abThere are some albums that right from the beginning positively influence the listener. This is one of them […] I would even go so far as to say that, in this case, the satisfaction is huge.<\/em><\/div>\n
\u00a0<\/div>\n
The ensemble La Guirlande, founded by the traverse flautist Luis Mart\u00ednez Pueyo, author of the enlightening programme notes, has produced an album which allows each of its principally Spanish members to shine as soloists as well as confirming their high quality. This is what helps this record to be so enjoyable and highly recomendable, which indeed contributes to filling a gap that is little by little becoming smaller.\u00bb<\/div>\n

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Mariano Acero Ruil\u00f3pez on Scherzo<\/a><\/em>. September 1 2019<\/p>\n

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\u00abAlready from the first piece, the Sonata in B minor BWV 1030, by the patriarch, Gr\u00e0cia\u2019s rigorous performance was made clear, with noticeable contrasts in the final Presto, accompanying a melodious traverse and achieving brilliant and sparkling effects. In the Fantasia for harpsichord in A minor F.23, by Wilhelm Friedemann, [\u2026] he made a meticulous exercise of interpretation combining both technique and expressiveness. The classicist Sonata for flute and obbligato harpsichord in D Major by Johann Christoph Friederich, closed the first part of the concert, with traverso and harpsichord in peaceful harmony and good understanding between each other.\u00bb<\/p>\n

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Francisco Javier Aguirre on Heraldo de Arag\u00f3n<\/a><\/em>. July 27 2019<\/p>\n

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\u00abAm meisten \u00fcberzeugt zeigte sich die Jury schlie\u00dflich vom [\u2026] Ensemble La Guirlande. Mit ihrem in allen Facetten tief empfundenen, souver\u00e4n-professionellen, perfekt aufeinander eingespielten Vortrag der Triosonate aus Bachs \u201cMusikalischem Opfer\u201d [\u2026]\u00bb<\/p>\n

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\u00abFinally, the panel was most convinced by the [\u2026] award winning ensemble La Guirlande [\u2026] with their all-around heartfelt, profesionally confindent and perfectly together performance of the trio sonata from Bach\u2019s \u201cMusical Offering\u201d […]\u00bb\u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/i><\/p>\n

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Heike Haberl on Donaukurier<\/em><\/a>. August 13 2017<\/p>\n

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\u00abDas [\u2026] Ensemble La Guirlande bot ziemlich schwere Kost: Die Triosonate aus Johann Sebastian Bachs \u201cMusikalischem Opfer\u201d ist ein Meisterwerk der Mehrstimmigkeit. La Guirlande schaffte es mit differenzierter Lautst\u00e4rke und \u00e4u\u00dferst homogenem Spiel, die Schichten des Werkes freizulegen, und wurde daf\u00fcr von der Jury mit dem ersten Preis belohnt.\u00bb<\/p>\n

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\u00abThe ensemble [\u2026] La Guirlande offered a quite difficult part of the repertoire: the triosonata from Johann Sebastian Bach\u2019s \u201cMusical Offering\u201d is a polyphonic master piece. [\u2026] La Guirlande accomplished to reveal the underlying layers of this work with their dynamic differentiation and extremely homogeneous performance, and thus the panel has awarded them with the first prize.\u00bb<\/i><\/p>\n

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Raphael Beck on Augsburger Allgemeine<\/em><\/a>. August 13 2017<\/p>\n

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\u00abFor the art of magic that is nowadays playing historical music on original instruments, committed performers are needed \u2013 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.<\/em><\/p>\n

Better impossible!\u00bb<\/em><\/p>\n

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Sol Bordas on El arte de la fuga<\/em><\/a>. March 8 2017<\/p>\n

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\u00abThe Spanish chamber music ensemble made its debut with a wonderful programme dedicated to Bach, revealing their exceptional level.\u00bb<\/p>\n

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\u00abThe 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 [\u2026] this wonderful programme intelligently titled \u201cIn the name of the Father\u201d.<\/em><\/p>\n

La Guirlande\u2019s performance was as surprising as it was overwhelming. [\u2026] The most visible head of the group is that of Luis Mart\u00ednez, traverso performer who studied in the Schola Cantorum Basiliensis and is undoubtedly amongst the best players of this instrument in this country. [\u2026] 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. <\/em>[\u2026] Alfonso Sebasti\u00e1n [\u2026] There are few performers in this country with the knowledge he possesses about Bach\u2019s work. His profound knowledge, both from the keyboard [\u2026] as from theory is remarkable, and he therefore always contributes with an extra point to the ensemble with which he is collaborating.\u00a0<\/em>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 [\u2026] was world-class level harpsichord playing.<\/em><\/p>\n

[\u2026] Lathika Vithanage [\u2026] Impressive technique and sound coming from her violin in every moment. Her vision of Triosonata BWV 1038 was colossal [\u2026] 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. [\u2026] 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. [\u2026] she was able to hold the tension and was during most of the concert at the really high level of her colleagues.<\/em><\/p>\n

In short, a concert at a very high level [\u2026]. A wonderful example of teamwork, in which one could appreciate the serious and detailed work, achieving [\u2026] a first-class performance for the audience, second to none of the great ensembles of the current music scene.\u00bb<\/em><\/p>\n

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Mario Guada on Codalario<\/em><\/a>. March 7 2017<\/p>\n

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\u00abVithanage impressed for her technical skills and her elegance when playing, always accompanied by a wide smile that showed how much she was enjoying [\u2026] the music and the performance \u2013 her own and her colleagues\u2019 \u2013. Mart\u00ednez\u2019s 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 Sebasti\u00e1n was able to extract all substance from the beautiful sound of the Grimaldi harpsichord [\u2026] opposite him and on which he played a memorable version of the Prelude, Fugue and Allegro.<\/em><\/p>\n

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.\u00bb<\/em><\/p>\n

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Eduardo Torrico on <\/i>Scherzo<\/em><\/a><\/i>. March 6 2017<\/p>\n

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\u00abHis performance neared technical perfection and the jury emphasized that quality, as well as the precise delivery and intonation at all times. [\u2026] the opening adagio sounded delicate, with a natural flow and a demonstration of synchronization in the breathy unison cadence. They 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.\u00bb<\/em><\/div>\n

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Eduardo Vi\u00f1uela on\u00a0La Nueva Espa\u00f1a<\/em>. July 16 2016<\/p>\n

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\u00abLa Guirlande opted for an approach with historically accurate performance \u2013 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.\u00bb<\/em><\/div>\n

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Eduardo Vi\u00f1uela on La Nueva Espa\u00f1a<\/em>. July 15 2016<\/p>\n

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\n

\u00abAbsolutely lyrical, the Sicilian movement that the flautist Luis Mart\u00ednez 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.<\/em><\/p>\n

Sebastian wowed the public with an intense sonority and excellent fingering, extracted from his magnificent instrument. The harpsichordist from Zaragoza, [\u2026] is one more example of the stratospheric artistic level reached by Baroque musicians of Aragon.\u00bb<\/em><\/p>\n<\/div>\n

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Luis Alfonso Bes on Heraldo de Arag\u00f3n<\/em>. May 12 2016<\/p>\n

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\u00abVirtuos und zugleich feinf\u00fchlig interpretierte Luis Mart\u00ednez Pueyo auf der Traversfl\u00f6te die Solost\u00fccke in den Fl\u00f6tensuiten von Jacques-Martin Hotteterre.\u00bb<\/p>\n

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\u00abLuis Mart\u00ednez Pueyo performed both virtuously and gently with his traverso the pieces of the flute suite by Jacques-Martin Hotteterre.\u00bb<\/p>\n

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Hans J\u00fcrgen Kugler on Badische<\/em> Zeitung. February 25 2015<\/p>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"

PRESS REVIEW \u00ab[…] La Guirlande, […] offered a precise and precious recital that was much more than a journey through the Baroque. The ‘Sonata for flute and obbligato harpsichord in B minor BWV 1030’ was performed by Martinez and Sebasti\u00e1n with great precision and restrained lyricism. What resulted in practice was the feeling of having […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"

[vc_row row_type=\"row\" use_row_as_full_screen_section=\"no\" type=\"full_width\" text_align=\"left\" css_animation=\"\"][vc_column][vc_separator type=\"normal\" color=\"#dddddd\" border_style=\"solid\" thickness=\"0,1\" up=\"130\" down=\"50\"][\/vc_column][\/vc_row][vc_row row_type=\"row\" use_row_as_full_screen_section=\"no\" type=\"grid\" text_align=\"left\" css_animation=\"\" css=\".vc_custom_1451954132305{margin-top: 30px !important;}\"][vc_column][vc_column_text]<\/p>

NOTAS DE PRENSA<\/p>

[\/vc_column_text][\/vc_column][\/vc_row][vc_row row_type=\"row\" use_row_as_full_screen_section=\"no\" type=\"full_width\" text_align=\"left\" css_animation=\"\"][vc_column][vc_separator type=\"normal\" color=\"#dddddd\" border_style=\"solid\" thickness=\"0,1\" down=\"50\"][\/vc_column][\/vc_row][vc_row row_type=\"row\" use_row_as_full_screen_section=\"no\" type=\"grid\" text_align=\"left\" css_animation=\"\" css=\".vc_custom_1464109426152{margin-top: 100px !important;}\"][vc_column width=\"5\/6\"][vc_column_text]- \"Am meisten \u00fcberzeugt zeigte sich die Jury schlie\u00dflich vom [...] ensemble La Guirlande. Mit ihrem in allen Facetten tief empfundenen, souver\u00e4n-professionellen, perfekt aufeinander eingespielten Vortrag der Triosonate aus Bachs \"Musikalischem Opfer\" ...\"<\/i><\/p>

\u00a0<\/p>

- <\/span>\"Finalmente, el jurado se decant\u00f3 - plenamente convencido - por el ensemble \u00abLa Guirlande, [...] por su versi\u00f3n de la triosonata de La ofrenda musical de Bach, profundamente\u00a0interiorizada, sumamente profesional y perfectamente interpretada en conjunto.\"<\/span><\/i><\/div>

[\/vc_column_text][\/vc_column][vc_column width=\"1\/6\"][vc_column_text]
[\/vc_column_text][\/vc_column][\/vc_row][vc_row row_type=\"row\" use_row_as_full_screen_section=\"no\" type=\"full_width\" text_align=\"left\" padding_top=\"50\" css_animation=\"\" css=\".vc_custom_1504629510284{margin-bottom: 0px !important;}\"][vc_column width=\"1\/2\"][vc_column_text]
[\/vc_column_text][\/vc_column][vc_column width=\"1\/2\"][vc_column_text]Heike Haberl en Donaukurier<\/a><\/em>. 13 Agosto 2017<\/span><\/p>

[\/vc_column_text][\/vc_column][\/vc_row][vc_row row_type=\"row\" use_row_as_full_screen_section=\"no\" type=\"grid\" text_align=\"left\" css_animation=\"\" css=\".vc_custom_1504629570910{margin-top: 50px !important;}\"][vc_column width=\"5\/6\"][vc_column_text]- \"<\/i>Das [...] ensemble \u00abLa Guirlande\u00bb<\/i>\u00a0bot ziemlich schwere Kost: Die Triosonate aus Johann Sebastian Bachs\u00a0\u201eMusikalischem Opfer\u201c ist ein Meisterwerk der Mehrstimmigkeit. \u00abLa Guirlande\u00bb<\/i> schaffte es mit differenzierter Lautst\u00e4rke und \u00e4u\u00dferst homogenem Spiel, die Schichten des Werkes freizulegen, und wurde daf\u00fcr von der Jury mit dem ersten Preis ...\"<\/em><\/p>

\u00a0<\/p>

- \"El ensemble [...]\u00a0\u00abLa Guirlande\u00bb ofreci\u00f3 un plato fuerte: la triosonata de La Ofrenda musical de Johann Sebastian Bach es una obra maestra del contrapunto. [...] \u00abLa Guirlande\u00bb logr\u00f3 sacar a la luz toda la profundidad de la misma tocando de manera muy homog\u00e9nea y con una intensidad sonora diferenciada, por lo que fue recompensado por el jurado con el primer premio ...\"<\/i><\/span><\/div>

[\/vc_column_text][\/vc_column][vc_column width=\"1\/6\"][vc_column_text]
[\/vc_column_text][\/vc_column][\/vc_row][vc_row row_type=\"row\" use_row_as_full_screen_section=\"no\" type=\"full_width\" text_align=\"left\" padding_top=\"50\" css_animation=\"\"][vc_column width=\"1\/2\"][vc_column_text]
[\/vc_column_text][\/vc_column][vc_column width=\"1\/2\"][vc_column_text]Raphael Beck en Augsburger Allgemeine<\/a><\/em>. 13 Agosto 2017<\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row row_type=\"row\" use_row_as_full_screen_section=\"no\" type=\"grid\" text_align=\"left\" css_animation=\"\"][vc_column width=\"5\/6\"][vc_column_text css=\".vc_custom_1493940057309{margin-top: 50px !important;}\"]- \"<\/span><\/em>Para el arte de magia que es mostrar hoy la m\u00fasica hist\u00f3rica con instrumentos originales se necesitan int\u00e9rpretes comprometidos, entregados, cultos, apasionados con lo que hacen. Eso es LA GUIRLANDE, un cuarteto que, con sobriedad, elegancia y pasi\u00f3n nos mantuvo en una tensa emoci\u00f3n entre las elipses sucesivas de la iglesia de San Marcos, en el coraz\u00f3n de Madrid.<\/em><\/span><\/p>

\u00a1Mejor imposible!\"<\/em><\/span>[\/vc_column_text][\/vc_column][vc_column width=\"1\/6\"][vc_column_text]
[\/vc_column_text][\/vc_column][\/vc_row][vc_row row_type=\"row\" use_row_as_full_screen_section=\"no\" type=\"full_width\" text_align=\"left\" padding_top=\"50\" css_animation=\"\"][vc_column width=\"1\/2\"][vc_column_text]
[\/vc_column_text][\/vc_column][vc_column width=\"1\/2\"][vc_column_text]Sol Bordas en El arte de la fuga<\/a><\/em>. 8 Marzo 2017<\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row row_type=\"row\" use_row_as_full_screen_section=\"no\" type=\"grid\" text_align=\"left\" css_animation=\"\"][vc_column width=\"5\/6\"][vc_column_text css=\".vc_custom_1493939848696{margin-top: 50px !important;}\"]- \"El conjunto de c\u00e1mara espa\u00f1ol estren\u00f3 formaci\u00f3n con un magn\u00edfico monogr\u00e1fico dedicado a Bach, en el que se puso de manifiesto su excepcional nivel.\"<\/strong><\/span><\/em><\/p>

\u00a0<\/p>

-\u00a0<\/span>\"Continua el XVII Festival Internacional de Arte Sacro con su andadura en la presente edici\u00f3n, en esta ocasi\u00f3n con uno de los conciertos de mayor impacto que recuerdo en los \u00faltimos tiempos de un conjunto historicista casi completamente espa\u00f1ol. Se presentaba La Guirlande en esta edici\u00f3n del Arte Sacro para mostrar al p\u00fablico [...]\u00a0este magn\u00edfico programa titulado inteligentemente En el nombre del Padre.<\/em><\/span><\/p>

- La interpretaci\u00f3n de La Guirlande result\u00f3 tan sorprendente como apabullante. [...] La cabeza m\u00e1s visible del grupo es la de Luis Mart\u00ednez, int\u00e9rprete de traverso formado en la Schola Cantorum Basiliensis, que se encuentra, sin duda, entre los mejores exponentes del instrumento en este pa\u00eds. [...] Estuvo brillante, tanto en lo t\u00e9cnico como en lo expresivo, sin alardes superficiales, sabiendo mantener su di\u00e1logo cuando la obra lo requiere y mostrando su virtuosismo en la sonata a solo. [...]\u00a0Alfonso Sebasti\u00e1n [...]\u00a0Pocos int\u00e9rpretes hay en este pa\u00eds con el conocimiento que \u00e9l atesora sobre la obra de Bach. Su profundo conocimiento, tanto desde el teclado\u00a0[...] como desde la teor\u00eda es m\u00e1s que destacable, por lo que aporta siempre un punto extra al ensemble con el que colabora. Sus versiones son siempre refinadas, sutiles, repletas de inteligencia, con una carga ret\u00f3rica muy sustancial. Y qu\u00e9 decir de sus aportaciones a solo. Lo presenciado ayer [...]\u00a0fue digno de los grandes clavecinistas a nivel mundial.<\/em><\/span><\/p>

- [...] Lathika Vithanage\u00a0[...] Impresionante la t\u00e9nica y la sonoridad extra\u00edda de su viol\u00edn en cada momento. Descomunal su visi\u00f3n de la Triosonata BWV 1038 [...]\u00a0as\u00ed como de la BWV 1079, y brillante en su sonata para viol\u00edn y clave obligado. Descomunal la capacidad para conmover en el registro medio-grave [...]\u00a0Su apariencia de fragilidad se contrapone con su solvencia extrema. Pocas veces he visto a un violinista fluir de manera tan natural y aparentemente sencilla interpretando a Bach. Es un placer verle, adem\u00e1s, disfrutar de esa manera tan honesta, proyect\u00e1ndolo de manera tan obvia hacia fuera.\u00a0Ester Domingo se mostr\u00f3 como una violonchelista muy capaz, sosteniendo sobre s\u00ed gran parte del discurso de las obras.\u00a0[...] supo mantener la tensi\u00f3n y establecerse durante gran parte del recital al alt\u00edsimo nivel de sus compa\u00f1eros.<\/em><\/span><\/p>

- En definitiva, un concierto de gran nivel [...]. Una magn\u00edfica labor de trabajo conjunto, en la que se apreci\u00f3 trabajo serio y en profundidad, logrando que [...] se ofreciese al p\u00fablico un espect\u00e1culo de primer nivel, sin nada que envidiar al de cualquier de los grandes ensembles del panorama.\"<\/em><\/span><\/p><\/div><\/div>

[\/vc_column_text][\/vc_column][vc_column width=\"1\/6\"][vc_column_text]
[\/vc_column_text][\/vc_column][\/vc_row][vc_row row_type=\"row\" use_row_as_full_screen_section=\"no\" type=\"full_width\" text_align=\"left\" padding_top=\"50\" css_animation=\"\"][vc_column width=\"1\/2\"][vc_column_text]
[\/vc_column_text][\/vc_column][vc_column width=\"1\/2\"][vc_column_text]Mario Guada en Codalario<\/i><\/a>. 7 Marzo 2017<\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row row_type=\"row\" use_row_as_full_screen_section=\"no\" type=\"grid\" text_align=\"left\" css_animation=\"\"][vc_column width=\"5\/6\"][vc_column_text css=\".vc_custom_1504630323106{margin-top: 50px !important;}\"]- \"Vithanage impresion\u00f3 por su dominio t\u00e9cnico y por su elegancia en el tocar, acompa\u00f1ada siempre de una amplia sonrisa que denotaba lo mucho que estaba disfrutando\u00a0[...] con la m\u00fasica y con la interpretaci\u00f3n \u2014la suya y la de sus compa\u00f1eros\u2014. La emisi\u00f3n del traverso de Mart\u00ednez fue n\u00edtida y c\u00e1lida, muy c\u00e1lida, sobre todo en ese apabullante Andante de la Sonata BWV 1034. Domingo estuvo espl\u00e9ndida tanto en la labor de continuo como en las partes principales que otorga la sonata de la Ofrenda a los cuatro int\u00e9rpretes. Y Sebasti\u00e1n supo extraerle toda la sustancia al bello sonido al clave Grimaldi\u00a0[...] frente al que se sentaba y en el que se marc\u00f3 una antol\u00f3gica versi\u00f3n del Preludio, Fuga y Allegro [...].<\/em><\/span><\/p>

- Cuando uno termina de escuchar a Bach en manos tan cualificadas tiene la sensaci\u00f3n de reconciliarse con el mundo. Ojal\u00e1 fuera algo m\u00e1s que una sensaci\u00f3n.\"<\/em><\/span>[\/vc_column_text][\/vc_column][vc_column width=\"1\/6\"][vc_column_text]
[\/vc_column_text][\/vc_column][\/vc_row][vc_row row_type=\"row\" use_row_as_full_screen_section=\"no\" type=\"full_width\" text_align=\"left\" padding_top=\"50\" css_animation=\"\"][vc_column width=\"1\/2\"][vc_column_text]
[\/vc_column_text][\/vc_column][vc_column width=\"1\/2\"][vc_column_text]Eduardo Torrico en Scherzo<\/u><\/i><\/a>. 6 Marzo 2017<\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row row_type=\"row\" use_row_as_full_screen_section=\"no\" type=\"grid\" text_align=\"left\" css_animation=\"\" css=\".vc_custom_1493939090480{margin-top: 50px !important;}\"][vc_column width=\"5\/6\"][vc_single_image image=\"888\" img_size=\"medium\" onclick=\"link_image\" qode_css_animation=\"\" css=\".vc_custom_1474655588398{padding-bottom: 25px !important;}\"][vc_column_text]- \"... Su actuaci\u00f3n roz\u00f3 la perfecci\u00f3n y el jurado destac\u00f3 esa cualidad, as\u00ed como la buena compenetraci\u00f3n y afinaci\u00f3n en todo momento... el adagio inicial son\u00f3 contenido, delicado, con una fluidez natural y una demostraci\u00f3n de sincronizaci\u00f3n en el un\u00edsono entrecortado de la cadencia. Lograron transmitir la diferencia de car\u00e1cter entre el \u00e1gil Allegretto y el animado Allegro assai, donde destac\u00f3 el virtuosismo de algunos pasajes...de nuevo mostraron virtuosismo en los largos fraseos mel\u00f3dicos del primer tiempo, un control magistral del tiempo en el Andante y echaron el resto en el Allegretto final, combinando el virtuosismo de los pasajes vertiginosos con puntuales ritardos. Simplemente espectacular.\"<\/em>[\/vc_column_text][\/vc_column][vc_column width=\"1\/6\"][vc_column_text]
[\/vc_column_text][\/vc_column][\/vc_row][vc_row row_type=\"row\" use_row_as_full_screen_section=\"no\" type=\"full_width\" text_align=\"left\" padding_top=\"50\" css_animation=\"\"][vc_column width=\"1\/2\"][vc_column_text]
[\/vc_column_text][\/vc_column][vc_column width=\"1\/2\"][vc_column_text]Eduardo Vi\u00f1uela\u00a0en La Nueva Espa\u00f1a<\/i>. 16 Julio 2016<\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row row_type=\"row\" use_row_as_full_screen_section=\"no\" type=\"grid\" text_align=\"left\" css_animation=\"\"][vc_column width=\"5\/6\"][vc_column_text css=\".vc_custom_1504630092740{margin-top: 50px !important;}\"]-\u00a0\"... La guirlande apost\u00f3 por un enfoque con rigor hist\u00f3rico en la interpretaci\u00f3n, y acert\u00f3. Este d\u00fao de traverso y clave confi\u00f3 su suerte a la \"Sonata para flauta y clave obligado en Re Mayor\" de C.P.E. Bach y convenci\u00f3 al jurado con un perpetummobile riguroso en los allegros y la disoluci\u00f3n de comp\u00e1s en el adagio. Son\u00f3 correcto, bien compenetrado y con la fluidez que exige la obra ...\"<\/em>[\/vc_column_text][\/vc_column][vc_column width=\"1\/6\"][vc_column_text]
[\/vc_column_text][\/vc_column][\/vc_row][vc_row row_type=\"row\" use_row_as_full_screen_section=\"no\" type=\"full_width\" text_align=\"left\" padding_top=\"50\" css_animation=\"\"][vc_column width=\"1\/2\"][vc_column_text]
[\/vc_column_text][\/vc_column][vc_column width=\"1\/2\"][vc_column_text]Eduardo Vi\u00f1uela en La Nueva Espa\u00f1a<\/i>. 15 Julio 2016<\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row row_type=\"row\" use_row_as_full_screen_section=\"no\" type=\"grid\" text_align=\"left\" css_animation=\"\" css=\".vc_custom_1474655561651{margin-top: 50px !important;}\"][vc_column width=\"5\/6\"][vc_single_image image=\"812\" img_size=\"medium\" onclick=\"link_image\" qode_css_animation=\"\" css=\".vc_custom_1464110459148{padding-bottom: 25px !important;}\"][vc_column_text]- \"... Absolutamente l\u00edrico, ese movimiento siciliano que el flautista [Luis Mart\u00ednez Pueyo] recre\u00f3 degustando las notas, sabore\u00e1ndolas como mandan los c\u00e1nones, al m\u00e1s puro estilo de c\u00e9lebres flautistas como Jaime Mart\u00edn o del mism\u00edsimo Jean Pierre Rampal. Sus pasajes, llenos de figuraciones de enorme viveza, fueron aprovechados al m\u00e1ximo por el m\u00fasico zaragozano, que exhibi\u00f3 la adecuaci\u00f3n sorprendente del traverso barroco para el lucimiento virtuos\u00edstico ...\"<\/em>
- \"Sebasti\u00e1n cautiv\u00f3 al respetable con una sonoridad intensa y excelentemente digitada, extra\u00edda de su magn\u00edfico instrumento. El clavecinista zaragozano [...] es una muestra m\u00e1s del estratosf\u00e9rico nivel art\u00edstico alcanzado por la m\u00fasica barroca en Arag\u00f3n\"<\/em>[\/vc_column_text][\/vc_column][vc_column width=\"1\/6\"][vc_column_text]
[\/vc_column_text][\/vc_column][\/vc_row][vc_row row_type=\"row\" use_row_as_full_screen_section=\"no\" type=\"full_width\" text_align=\"left\" padding_top=\"50\" css_animation=\"\"][vc_column width=\"1\/2\"][vc_column_text]
[\/vc_column_text][\/vc_column][vc_column width=\"1\/2\"][vc_column_text]Luis Alfonso Bes\u00a0en Heraldo de Arag\u00f3n<\/i>. 12\u00a0Mayo\u00a02016<\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row row_type=\"row\" use_row_as_full_screen_section=\"no\" type=\"grid\" text_align=\"left\" css_animation=\"\" css=\".vc_custom_1464109426152{margin-top: 100px !important;}\"][vc_column width=\"5\/6\"][vc_column_text]- \"... Virtuos und zugleich feinf\u00fchlig interpretierte Luis Martinez Pueyo auf der Traversfl\u00f6te die Solost\u00fccke in den Fl\u00f6tensuiten von Jacques-Martin Hotteterre ...\"<\/i><\/p>

\u00a0<\/p>

- \"... Luis Mart\u00ednez Pueyo interpret\u00f3 al traverso de manera virtuosa y al mismo tiempo delicada las piezas a solo de la suite para flauta de Jacques-Martin Hotteterre ...\"<\/i><\/span><\/div>

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[\/vc_column_text][\/vc_column][vc_column width=\"1\/2\"][vc_column_text]<\/p>

Hans J\u00fcrgen Kugler en Badische Zeitung<\/i>. 25 Febrero 2015<\/span><\/p>

[\/vc_column_text][\/vc_column][\/vc_row]<\/p>","_et_gb_content_width":"","footnotes":""},"class_list":["post-662","page","type-page","status-publish","hentry"],"yoast_head":"\nReviews - La Guirlande<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/laguirlande.com\/en\/reviews\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Reviews - La Guirlande\" \/>\n<meta property=\"og:description\" content=\"PRESS REVIEW \u00ab[...] La Guirlande, [...] offered a precise and precious recital that was much more than a journey through the Baroque. The 'Sonata for flute and obbligato harpsichord in B minor BWV 1030' was performed by Martinez and Sebasti\u00e1n with great precision and restrained lyricism. 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