Distinguished American critic Raymond Tuttle, writing in the current issue of Fanfare magazine, offered very strong and thoughtful praise (and some surprising characterizations) for Reinventing Guitar II (DE 3419): guitar virtuoso Smaro Gregoriadou’s latest recording for Delos. After discussing her use of various historic guitar replicas (as designed and crafted by Yorgos Kertsepoulos) as well as alternative stringing schemes and tuning methods, Tuttle realistically concludes, “I don’t think Gregoriadou is claiming absolute originality or uniqueness … she’s just weighing and combining multiple options to create guitar performances that bring new insights to old repertory.”
From there, Tuttle goes on to discuss Smaro’s program and its listener appeal: “This program is not about guitars or tuning, though . . . it is about music and the enjoyment thereof. I have no doubt that Gregoriadou has a most musical mind . . . that is to say, it melds intellect with emotion and sensitivity. This is a program that can appeal to listeners’ hearts or heads, or to both at the same time.” Speaking of her manifold qualities as a performer, he cites “…her lively and questing musicianship,” adding that “Rhythm plays a particularly important role in her performances, as does sensitivity to and clarity of texture. I have no doubt that Gregoriadou could have played this entire program on a standard guitar and made it interesting.”
The review’s most pleasantly surprising aspect comes towards the end, where Tuttle muses about Smaro’s potential influence in the course of music history: “In her own way, Gregoriadou evokes musicians such as Vladimir Horowitz, Glenn Gould, and Wanda Landowska in her willingness – her need, really – to find a new way to express herself and to reanimate the music, without letting innovation become an end in itself.” Our astute reviewer then finishes up with a resounding endorsement: “Any classical guitarist, professional or aspiring, could learn a lot from this CD, I think. Anyone who enjoys just listening to the guitar will get more than the usual enjoyment from Gregoriadou, even if they don’t appreciate or care about her instruments, her tunings, or any other practical concerns. Highly recommended, then.”
Critical response of such perceptive and insightful nature – coming as it does from such a widely respected critic as Mr. Tuttle – gives us here at Delos all the more reason to take great pride in claiming Smaro as one of our most innovative and exciting recording artists. It further amplifies our incentive to do whatever we can to spread the news about her supreme artistry and the importance of her fascinating work.
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