Especially captivating was the visionary fantastery with the overwhelming number of unusual effects in Alberto Ginastera’s Sonata for guitar. Its impudence and energy reverberated very well with Miolin’s temperament.
In the piano pieces by Satie, Debussy and Ravel his work with the transcribing pencil was no less impressive than that with the instrument. The pieces sound as if they were written for the guitar, making the most of the instrument’s special character with fantasy, colour and precision.
It was obvious that we were listening to a brilliant virtuoso who combines the most difficult techniques and styles with lightning swiftness. The sound was free and open, the expression continuously expansive, the tempos tight and energetic, often tending to the fast side.
A fascinating demonstration of instrumental control.