{"id":8164,"date":"2017-10-25T15:13:35","date_gmt":"2017-10-25T22:13:35","guid":{"rendered":"http:\/\/classicalguitarmagazine.com\/?p=8164"},"modified":"2021-04-29T08:20:28","modified_gmt":"2021-04-29T15:20:28","slug":"review-duo-amarals-key-west-latin-american-music-for-two-guitars","status":"publish","type":"post","link":"https:\/\/classicalguitarmagazine.com\/review-duo-amarals-key-west-latin-american-music-for-two-guitars\/","title":{"rendered":"Review: Duo Amaral&#8217;s Key West &#8211; Latin American Music for Two Guitars"},"content":{"rendered":"<p>From the<b>\u00a0<a href=\"https:\/\/store.elizabethl27.sg-host.com\/collections\/back-issues-1\/products\/no-387-fall-2017\" target=\"_blank\" rel=\"noopener\">Fall\u00a02017 issue<\/a>\u00a0<\/b>of\u00a0<em>Classical Guitar<\/em><b>\u00a0| BY\u00a0CHRIS DUMIGAN<\/b><\/p>\n<hr \/>\n<p>Mexican guitarist Jorge Amaral and Israel-born Mia Pomerantz-Amaral formed <a href=\"http:\/\/duoamaral.com\">Duo Amaral<\/a> in 2008 and this is <a href=\"https:\/\/www.amazon.com\/Key-West-Latin-American-Guitars\/dp\/B074QVQD2P\/ref=sr_1_1?ie=UTF8&amp;qid=1508966021&amp;sr=8-1&amp;keywords=duo+amaral\">their third recording<\/a>. They immediately grab your attention with \u201cPinote,\u201d the lightning-fast first movement from S\u00e9rgio Assad\u2019s <em>Tres Cenas Brasilieras<\/em>, which they go on to play in its entirety. Indeed, this is the sort of music that most duos would like to play, but often haven\u2019t got the necessary technique. This is not a problem with Duo Amaral!<\/p>\n<p>Jose Manuel Lezcano\u2019s <em>Key West<\/em> follows, written for the Duo and a premiere recording. Also set in three movements, it begins with \u201cSeven Mile Bridge,\u201d a fast-paced opener, followed by the warm and relaxed \u201cBolero Del Atardecer,\u201d with its meltingly beautiful harmonies, and finishes with \u201cDuval Street Stomp,\u201d a rhythmic and exciting closer. The musical style is always melodic but also interestingly rhythmic throughout.<\/p>\n<p>Guido Santorsola\u2019s <em>Suite All\u2019Antica<\/em> in four movements follows. A lovely, chordal \u201cPreludio\u201d is followed by a tiptoeing \u201cTempo Di Minuetto.\u201d \u201cPiccola Arietta\u201d follows and is haunting in its melodic beauty, while the \u201cFinale\u201d is relentlessly fast and full of gorgeous close- harmony work.<\/p>\n<p>Radames Gnattali\u2019s famous <em>Suite Retratos<\/em> is a wonderful piece that is in the repertoire of many of the best duos. It is harmonically rich, with complex voices weaving in and out; fabulous music beautifully performed.<\/p>\n<p>The final work is Egberto Gismonti\u2019s <em>Aqua e Vinho<\/em>, an apt ending to a truly great CD of effortlessly beautiful playing and timeless interpretations.<\/p>\n<p>Enjoy this footage of Duo Amaral performing <em>Aqua e Vinho<\/em> October 15, 2017 at St. David\u2019s Episcopal Church in Baltimore, Maryland.<\/p>\n<p><iframe src=\"https:\/\/www.youtube.com\/embed\/URg8DQwHr4A\" width=\"640\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>From the\u00a0Fall\u00a02017 issue\u00a0of\u00a0Classical Guitar\u00a0| BY\u00a0CHRIS DUMIGAN Mexican guitarist Jorge Amaral and Israel-born Mia Pomerantz-Amaral formed Duo Amaral in 2008 and this is their third recording. They immediately grab your attention with \u201cPinote,\u201d the lightning-fast first movement from S\u00e9rgio Assad\u2019s Tres Cenas Brasilieras, which they go on to play in its entirety. Indeed, this is the sort of music that most duos would like to play, but often haven\u2019t got the necessary technique. This is not a problem with Duo Amaral! [&hellip;]<\/p>\n","protected":false},"author":22,"featured_media":8166,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[6],"tags":[],"class_list":["post-8164","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2017\/10\/key-west-e1508966728686.jpg?fit=1477%2C1001&ssl=1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/8164","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/users\/22"}],"replies":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/comments?post=8164"}],"version-history":[{"count":1,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/8164\/revisions"}],"predecessor-version":[{"id":16108,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/8164\/revisions\/16108"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media\/8166"}],"wp:attachment":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media?parent=8164"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/categories?post=8164"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/tags?post=8164"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}