Erlanger Nachrichte, Cora Uitting
There were only a few empty seats left in the concert hall of the Erlangen Music Institute, where Goran Krivokapić and Danijel Cerović, who together form the Montenegrin Guitar Duo, were to make their “Bavarian debut”. The two young men are no strangers to the classical guitar community, appearing not only as highly sought-after artists internationally, but also as speakers, teachers and competition jury members. Against this background, their manner in the concert setting is surprisingly unassuming.
What works best as a structuring, excitement-quenching opening work? Correct: Johann Sebastian Bach’s English Suite No. 6 in D minor, BWV 811, originally composed for harpsichord, which the musicians arranged themselves for two guitars. Quiet, collected and with the utmost precision, Krivokapić and Cerović give form and content to the seven movements. Soon the actually-quiet sound of these “bower instruments” spreads throughout the room, gains volume and reaches into the most remote corners of the hall.
The sound remains warm, round and and undisturbed by any impurities: the guitarists create the music as if improvising, but always maintain a vital forward movement. They understand each other sightlessly, form a unity of sound and thus find an inspiring interpretation of this intellectually-demanding composition.
A completely different character is shown in the Suite Troileana by the Argentinean tango-emancipator Astor Piazzolla, where great temperament and ardour come not only from boundless virtuosity, but also from making the love of the work and the playing tangible with every note.
Sonic highlights, tango rhythms, swinging passages and harmonic sophistication all exude South-American flair.
Also the Danza Ritual and the Danza del Fuego by the Spaniard Manuel de Falla could hardly be performed more authentically and effectively. Krivokapić and Cerović have settled in, played freely and won over the cheering audience.
Loosely translated from German