Annette Kruisbrink guitariste, compose et duettise avec son frère Éric; belle entité musicale toute imprégnée de culture, qui a assez de talent et de courage pour nous proposer un son, un style, une approche sans concession. C'est original mais compréhensible, moderne et sensible, recherché sans être abscons.
Agréable surprise donc que cette musique audacieuse, jamais mièvre, souvent musclée mais qui sait se faire caresssante et surtout inventive à souhait... Ce n'est pas un hasard qu'Annette Kruisbrink ait été plusieurs fois récompensée pour la qualité de ses compositions (pas seulement pour guitare mais aussi pour orchestre de chambre).
(Gérard Rebours, Les Cahiers de la Guitare)
This is another work by this prolific composer for this interesting combination. Written in 1986, with first and sixth strings both tuned to D and with an opening time signature of '0' I was initially worried that we might be entering the realms of the bizarre!
As it turned out the opening section marked at 240-crotchets-a-minute, written in quavers and semiquavers, consists of arpeggio patterns based around octave Gs In various combination of 2s, 3s, 4s, 5s, 6s, and 7s. This is not as difficult as it might appear on paper although the interaction between the two players has to be extremely tight. Suddenly octave Ds on both instruments instigate a 4/4 section that branches out Into a 16/8 section of guitar triads In groups of three against a moving bass line in groups of five. The accents here are offbeat and constantly shifting gear throughout. The whole section beginning with the 4/4 is repeated with several variations before a few bars of golpe on both instruments brings in some six-string rasgueados on guitar coupled with offbeat accents on the bass. A long arpeggio pattern on the guitar based around the dominant D then occurs against a long undulating melody from the bass.
At this point everything happens in reverse and the 16/8 passage returns followed by the 4/4, and in turn by the opening '0' time signature. The work closes on a dominant D from both instruments.
Again this is a useful and interesting work that says a lot in its relatively short duration. Any duos of this combination would probably find this work well worth the effort.
(Chris Dumigan, Classical Guitar Magazine)
