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With Trio Virado the instrumentation changes from cello to viola. Guitarist Joao Luiz, of the Brasil Guitar Duo, is joined by Amy Porter on flute and Juan Miguel Hernandez, viola. This too is a debut album.
The program begins genially with three works by Sergio Assad, especially arranged for Trio Virado. These include the ride crack Mangabeira, an infectious baiao. Next comes another baiao, the irresistible O Bebe by Hermeto Pascual. One only regrets char the piece isn't longer! Guitarist Luiz contributes the longest work on the disc, Todas as Manhas: Homenagem a Luiz Bonfa. Bonfa's signature "Manha de Carnaval" serves as the theme for a series of reverse variations, the theme appearing at the end, rather in the manner of Britten's Nocturnal. It is an inventive piece, made even more fun as the original theme reveals itself gradually. Frederic Hand, whose disc Odyssey is reviewed below, was one of Joao Luiz's teachers,and his Trio was written during their time working together. It is an absolutely lovely piece, rich in invention. Luiz also contributes fresh arrangements of three pieces by Piazzolla. They have the mix of melodic richness and rhythmic excitement that has driven the Piazzolla vogue and happily shows no sign of fading. The central milonga, Ausencias, is a bit reminiscent of Oblivion. Leo Brouwer's Paisajes, Retratos y Mujeres is his second work for chis combination , and very different from the first, Per suonare a tre, a most uninviting piece. In fact, its first movement, "Retrato de Wagner con Mathilde" has passages that are the most un-Brouwerian of any piece I have heard. Then come interjections chat remind you chat it really is Leo after all-intriguingly dual in personalities. The second,"Mujer bailando un Minuetto" simply must be heard to be believed. I could write paragraphs and fail to describe its wondrous weirdness. This phantasmagorical piece concludes with "La pasi6n segun Dowland." It is a set of wild variations on the song "Can she excuse my wrongs." Luiz is a fabulous guitarist, and he has equals in flutist Porter, whose tone is unfailingly lovely, and violist Hernandez, whose playing is always incisive yet rich in quality. Moreover, they have an absolutely uncanny ability to play in flawless ensemble. Given that none of this music is easy, it is a remarkable achievement. The recorded sound is excellent, and notes by Luiz are very good as well.
- Al Kunze, Soundboard magazine
The program begins genially with three works by Sergio Assad, especially arranged for Trio Virado. These include the ride crack Mangabeira, an infectious baiao. Next comes another baiao, the irresistible O Bebe by Hermeto Pascual. One only regrets char the piece isn't longer! Guitarist Luiz contributes the longest work on the disc, Todas as Manhas: Homenagem a Luiz Bonfa. Bonfa's signature "Manha de Carnaval" serves as the theme for a series of reverse variations, the theme appearing at the end, rather in the manner of Britten's Nocturnal. It is an inventive piece, made even more fun as the original theme reveals itself gradually. Frederic Hand, whose disc Odyssey is reviewed below, was one of Joao Luiz's teachers,and his Trio was written during their time working together. It is an absolutely lovely piece, rich in invention. Luiz also contributes fresh arrangements of three pieces by Piazzolla. They have the mix of melodic richness and rhythmic excitement that has driven the Piazzolla vogue and happily shows no sign of fading. The central milonga, Ausencias, is a bit reminiscent of Oblivion. Leo Brouwer's Paisajes, Retratos y Mujeres is his second work for chis combination , and very different from the first, Per suonare a tre, a most uninviting piece. In fact, its first movement, "Retrato de Wagner con Mathilde" has passages that are the most un-Brouwerian of any piece I have heard. Then come interjections chat remind you chat it really is Leo after all-intriguingly dual in personalities. The second,"Mujer bailando un Minuetto" simply must be heard to be believed. I could write paragraphs and fail to describe its wondrous weirdness. This phantasmagorical piece concludes with "La pasi6n segun Dowland." It is a set of wild variations on the song "Can she excuse my wrongs." Luiz is a fabulous guitarist, and he has equals in flutist Porter, whose tone is unfailingly lovely, and violist Hernandez, whose playing is always incisive yet rich in quality. Moreover, they have an absolutely uncanny ability to play in flawless ensemble. Given that none of this music is easy, it is a remarkable achievement. The recorded sound is excellent, and notes by Luiz are very good as well.
- Al Kunze, Soundboard magazine