Press

Hohenloher Tagblatt, 28.11.2018	Chamber music in its purest form – The nuanced interplay of TrioConBrio made their appearance in the Craislheimer Ratsaal into something special: romanticism with forays into jazz On reflection, two arrangements for trio of Brahms’ op 91 lieder formed the true highpoint of the concert. The three players took a gentle approach to the songs. In the setting of Rückert’s ‘Gestillte Sehnsucht’, the whispering wind found expression through the close interplay of melodic lines on flute and viola, with Lydia Bach emphasising the essential mood of longing. Andrea Förderreuther’s arrangement demonstrated that Brahms lieder can be performed without a piano. Sergio Assad’s three pieces, Eterna – Menino – Mangabeira were suggestive of songs without words, performed by the trio with wonderful lyricism.
Fränkische Landeszeitung, 17.10.2018	Taking a visible and audible joy in playing With this work, often considered among his best, Debussy wanted to revive the French sonata. Guitarist Andrea Förderreuther has arranged the harp part for her instrument, and her achievements as a performer were evident in her intensity and her fleet fingerwork in the arpeggios.
Schwarzwälder Post, 09.07.2018	TrioConBrio and intensity of expression The trio paid the highest honour to Johann Sebastian Bach with their interpretation of the Sonata BWV 525. They played with precision and commitment, making Bach’s music immediately accessible to the audience. The way the three instrumentalists played together was impressive: they were united by eloquence, spirit, an unerring feeling for style, and subtle, nimble technique. Even after playing for two hours their enjoyment remained evident.
Passauer Neue Presse, 16.06.2018	Sounds of fire The three players complemented each other ideally, above all in music by Spanish composers. A piece specially composed for them was Visiones de Córdoba by José Maria Gallardo del Rey (b.1961). Throughout the work the trio evoked all the magic and mystery of Córdoba and Andalusia. Sinuous figurations were repeatedly interrupted by martellato interjections in flamenco style and the solo guitar enchanted with its delicate, emotion-laden veil of sound. Prolonged applause greeted this wonderful trio.
Westfälische Nachrichten, 09.10.2017	Gallery concert with TrioConBrio The performance lived up to TrioConBrio’s name, exuding spirit, wit, charm and fire. This was even more strongly the case in the subsequent interpretation of Astor Piazzolla’s Fuga y mysterio and Verano Porteño. Sergio Assad, who arranged these pieces specially for TrioConBrio, certainly knew what he was doing. Wow! The applause was long and well-deserved and there were several encores.
Die Glocke, 10.10.2017	An unusual combination of instruments – stimulating entertainment ‘con brio’ The ability of these three musicians was undeniably exceptional. They began with Bach’s Organ Trio BWV 525, very much in the spirit of chamber music and blossoming in its Adagio. Matiegka’s Notturno made a sparkling piece of entertainment, with some rustic moments in the Menuetto, some Hungarian gypsy fire in the movement entitled Zingara and a good deal of wit.
Die Rheinpfalz, 12.05.2017	“The world’s smallest orchestra”: TrioConBrio plays in the Villa Wieser in Herxheim TrioConBrio brought great skill to three arias from Mozart’s Magic Flute, arranged by Antoine de L’Hoyer. While her guitar made some melodic contributions, Andrea Förderreuther was primarily responsible for providing a refined harmonic framework, which she did with both assurance and subtlety. In her charming spoken introductions she also proved a persuasive advocate for the music on the programme. The impression made by Debussy’s Sonata for Flute, Viola and Harp was quite different. Its three lyrical movements were presented in their original form, but with Förderreuther taking on the challenge of the harp part on her guitar – and with great mastery.
Der Patriot Lippstadt, 17.01.2017	Imaginative colours – TrioConBrio focuses on composers of the 20th century The appeal of the pieces being introduced in this concert lay largely in their imaginative colourations and decisively in their lively rhythms. The members of the ensemble rose splendidly to the resulting opportunities: Christina Singer with virtuosity on the flute; Andrea Förderreuther with guitar-playing that technically and sonically really did display brio, and Lydia Bach, rhythmically smart at every moment and drawing voluminous sounds from her instrument, especially in the lower registers.
Gäubote Herrenberg, 26.11.2016	Strong women – chamber music in the Villa Schwalbenhof with TrioConBrio As rapidly became clear, three seasoned and well-proven musicians were bringing new life to the tradition of chamber music in the salons of cultured hosts – a tradition that had seemed long-lost. Each of the comparatively short pieces emerged full of colour and dynamism. Mario Castelnuovo-Tedesco’s Ecloghe was a world in itself.
Passauer Neue Presse, 28.09.2016	Big sounds from a small ensemble – a trio to be reckoned with TrioConBrio makes a speciality of playing chamber music with virtuosity, spirit and precision. The contemporary composer Gerd Baumann wrote worry dance for the ensemble. The piece recalls the Paris terrorist attacks of 2015 and the players succeeded in conveying all its emotions. The concert ended in the highest spirits with the Entr’actes I and II from Bizet’s Carmen, which combined fiery temperament with intimate refinement.
Augsburger Allgemeine, 19.03.2016	Trio Con Brio excels at the Konzertstadl Living up to their name, the players of TrioConBrio are dedicated to chamber music played with virtuosity, temperament and incredible precision. Antoine de L’Hoyer made a brilliant transcription of four numbers from Mozart’s Die Zauberflöte, which the trio played remarkably, far beyond domestically-scaled gentility, but they managed to surpass it with Schubert’s Der Hirt auf dem Felsen. Andrea Förderreuther is a highly accomplished guitarist, not a pianist, and the phenomenal transcription of the piano part makes extreme demands on the guitarist’s left hand. The soprano line was taken by the flute, played by Christina Singer, wonderfully complementing the sonorous tones of Lydia Bach’s splendidly-played viola. It was a pleasure to witness these three charming players’ vitality, and their sheer joy in playing as their performance rose to ever-greater heights of intensity. Trio-playing of the highest order.
Die Rheinpfalz, 08.03.2016	Pure joie de vivre The members of TrioConBrio conjured up magical, fairytale worlds with their foray into the landscape of Mozart’s Magic Flute, which brought the performance to ever greater levels of intensity. Warm sound and supple phrasing expressed the longing of Schubert’s Der Hirt auf dem Felsen without the need for words. Dynamic guitar chords were met melodiously by Lydia Bach’s concentrated viola-playing. The Carmen medley combined Mediterranean temperament with the refinement of chamber music, and Egberto Gismonti’s Forrobodo exuded vitality and joie de vivre. A continuous pulsing melody on the guitar established a structure, while Christina Singer’s flute and the viola exchanged another melody seamlessly, creating steamy erotic tension.
Pfälzischer Merkur, 08.03.2016	Big sounds from a small ensemble – A trio that really has something This harmonious trio was full of spirit, charm and fire, and the musicians’ close artistic collaboration was evident in their joyful playing. They gave the audience an entertaining evening. The Brazilians Sergio Assad and Egberto Gismonti – not the only contemporary composers who have written for TrioConBrio – were represented by Eterna – Menino – Mangabeira and Forrobodo, works that bear witness to the international status that TrioConBrio enjoys in the world of music. From the first note to the last, the group performed with distinction and persuasive skill, earning considerable applause.
Ludwigsburger Kreiszeitung, 09.05.2015	Sounds of the south, interpreted with emotion To attract an audience of more than 100 to a concert of chamber music on a week night is an achievement in itself. The outstanding musicians of TrioConBrio did just that. The music of Albéniz proved irresistible and the trio swept us away with the emotion of the piece by the American composer Ronald Pearl. The concert reached an exhilarating finale with Máximo Pujol’s Buenos Aires Color Pastel.
Heidenheimer Zeitung, 19.03.2015	A daring, exciting and moving concert At their exciting concert the virtuosic TrioConBrio gave the world premiere of Threnodies by Marijn Simons, written to commemorate the 25th anniversary of Leonard Bernstein’s death. It featured evocative passages for flute, played with impeccable attack and sensitive phrasing, viola figurations of idiosyncratic weight, minimalist strokes on the guitar and complex, tense polyrhythms. TrioConBrio performed it with both precision and commitment.
Mittelhessen.de, 1.12.2014	Sensual and exhilarating TrioConBrio, with its unusual and fascinating instrumental line-up, brought lustre to the evening’s music-making. The interplay of the instruments in this unconventional trio – guitar (a plucked instrument), flute (a wind instrument) and violin (a bowed instrument ) – creates a soundworld like an orchestra in microcosm. The wild and inhospitable landscape of Asturias was vividly evoked by the impressive playing of the trio, weaving a wonderfully rich tapestry of sound, and the enthralled audience responded with suitable enthusiasm to this masterly performance … The technically demanding passages drew special brilliance from the musicians and bore compelling witness to their musicality. The listeners were spellbound by the virtuosity of TrioConBrio, which provided an inimitable introduction to the Advent season.
Dernières Nouvelles d’Alsace, 04.08.2014	‘Vendredis de la Chartreuse’ – a trio full of charm Three works by Albéniz, with their echoes of folk music, delighted the audience, but the highlight of the evening was a work by Klaus Wüsthoff (b. 1922), the celebrated Concierto de Samba, which was an absolute joy.
Coburger Tageblatt, 13.05.2014	Spanish Grandezza: TrioConBrio’s wit and elegance enchant the audience at Schloss Rosenau A sense of joy shone out from the technically virtuosic, melodically expressive works, whose wit, elegance and diversity of character and temperament the players drew out with thrilling dance rhythms. In Granados’ Danzas Españolas the trio intensified their gently sensual and delicately mellifluous sound for the Oriental and Arabesca movements, in which the viola and flute twined round the guitar. In Astor Piazzolla’s Fuga y misterio and Verano porteño the heat was virtuosically and captivatingly turned up for a fugue that passed from instrument to instrument and which ended in a lovely reverie, and for a steamy, raw and passionate night in the port.
Neue Presse Coburg, 13.05.2014	Enticing sounds of the South For centuries, artists from Central Europe (where there is too much rain), have assuaged their longing for sun, warmth, light and passion by heading for the South. TrioConBrio proved that the power of music can conjure up the magic of the South from over the Alps. This trio’s stock in trade is its delightful blend of subtle instrumental colours. The opening work, the Trio op 445 by the little-known Italian composer Francesco Molino, provided charming evidence of the considerable melodic potential that lies in this unusual configuration of three instruments. TrioConBrio released this potential with their acutely responsive playing in all three movements. The audience, carried away by the music, applauded with unusual persistence and was rewarded with two encores.
Mittelbadische Presse, 22.03.2014	Musicians of exceptional technical skill With this unusual instrumentation some of the original character of Bach’s composition could have been lost in translation, but the elegance and virtuosity of TrioConBrio’s approach succeeded in giving the work a whole new sonic character, which offered the audience a very special listening experience.
Schwäbische Zeitung, 18.03.2014	Fresh and delicate as the spring – the musicians of TrioConBrio enthused their concert audience Bach, Mozart, Bizet, Albéniz and Wüsthoff delivered the material for the masterly playing of these three excellent musicians … an exceptional concert experience. The three ladies of the trio were adept at creating musical pleasures of the highest order, with a spring-like lightness of touch, freshness and delicacy. The audience responded with enthusiastic applause to this evening of energetic, yet sensitive performance – full of virtuosity and always ready to tackle something unusual.
Schwäbische Post, 17.03.2014	Con brio, this trio The trio made a particular impression in the two main works of the evening, highly attractive works by Isaac Albéniz and the Berlin-based contemporary composer Klaus Wüsthoff. The formation of the ensemble – guitar, viola and flute – is highly distinctive: each musical phrase is laid bare and requires shaping with special care. The musicians achieved this, even when the gentlest pianissimo was required … all in all quite a cultural event.
Badisches Tagblatt, 28.01.2014	A musical world tour, charmingly scored Everything was played with great sensitivity, freshness and elegance, pleasantly blurring the divisions between classical music and ‘light’ music: all that was left were heavenly sounds. In the three pieces by Albéniz they demonstrated both zappy virtuosity and melancholy songfulness and brought out the folksy flamenco elements that combine so wonderfully with the composer’s classical sophistication.
Badische Neueste Nachrichten, 28.01.2014	Substantial, but featherweight – fiery temperament and great virtuosity Technically demanding and full of spirit, this music provided pure enjoyment, especially as it was played by the three musicians with such mutual sensitivity and balanced sonorities. A particular bonne bouche was Georges Bizet’s Chanson Bohème, played with the lightest of touches. TrioConBrio succeeded effortlessly in sparking a flame and the public responded with enthusiasm.
Vaihinger Kreiszeitung, 04.11.2013	The TrioConBrio in St Peter’s Church – a highlight of the Vaihingen Guitar Festival Thanks to the considerable virtuosity and extraordinary technical skill of the three musicians, the spirited adaptation of a Bach organ sonata promised well for the evening. But TrioConBrio made clear that their strengths also lie outside the classics. Their recent CD, Fiesta Latina demonstrates their ability to achieve a subtle blurring of the divisions between classical music and ‘light’ music. Their playing – which can be full of zest one moment and of filigree delicacy the next – has long attracted the attention of famous composers such as Leo Brouwer, Egberto Gismonti and Sergio Assad, whose music contrasts strongly with that of the classical masters. This, then, was an evening of great variety, welcomed by the audience with abundant applause.
Zevener Zeitung, May 21.2013	Music with charm and ardour In an interpretation of the Magic Flute that was bubbling with joie de vivre, but also full of sensitivity and delicacy, the three musicians were virtuosic in their mastery of the sometimes extreme technical challenges of Mozart’s opera … They gave it their all, playing in perfect balance with each other and alternating skilfully between dreamy passages and tougher sonorities that literally crackled through the air. All this meant that the TrioConBrio brought an outstanding week of guitar music to a more than worthy close. There can be no doubt that the three musicians gave their audience an unforgettable evening of exceptional chamber music-making.
Westfalenpost, May 18.2013	From Bach to Bizet with charm and wit The three musicians rose to the demanding challenge of performing rhythmically and harmonically complex works by Leo Brouwer and Maximo Diego Pujol with such virtuosity and bravura that they assured the audience of an evening of musical pleasure to be remembered con brio. ed con brio.
Marbacher Zeitung, April 30.2013	Three soloists playing as one Three women, each a soloist, playing three different instruments – yet uniting to form a single whole. Each player was glamorously dressed, communing with her instrument, and yet at one with the group. With a combination of charm and dynamic sonorities, and with elegance and perfection, the trio captured the hearts of their audience – as was affirmed by the lengthy applause after each piece.
Ludwigsburger Kreiszeitung, April 30.2013	Strings glowing with passion TrioConBrio enthuses its audience with a musical journey from Germany to Argentina The audience found the high spirits of Francesco Molino’s Trio op 45 infectious, listening as the cheeky flute took flight, cushioned on the blanket of sound spread out by the viola and guitar. The playing of Andreea Polo proved meltingly sensitive. “How lovely!” as one of the ladies in the audience was heard to gently sigh.
Waldeckische Landeszeitung, April 23.2013	The composition of the trio is exotic, but the combination of guitar, flute and viola can produce a sound of orchestral scope.
Westfalenpost, April 23.2013	TrioConBrio – the name says it all This dynamic trio entertains its audience with wit, charm and spirit. The sparks flew at Glindfeld.
Die Rheinpfalz, Oct.19.2013	TrioConBrio shows an abundance of spirit at a concert in the Church of St Egidius On several occasions the audience was moved to applaud between movements. An inspiring evening of music.
Fürther Nachrichten, Oct.01.2012	Spirited lightness of touch  TrioConBrio mark a captivating evening at Burgfarrnbach Castle The pieces by the contemporary Argentinian composer Maximo Diego Pujol, with their interwoven melodies, pulsate with rhythm, always remaining harmonically coherent, even when pushing to aural limits. They formed an apt conclusion to a captivating evening, breathtaking for the listener. The enthusiastic applause rewarded an exceptional ensemble whose three members play together on an equal footing and in perfect balance, passing the musical ball to each other in their impressive interpretations.
Hessische/Niedersächsische Allgemeine, July 19.2012	Fresh, sparkling and witty  TrioConBrio takes a musical journey at Bursfeld Abbey Tangible Tangos is the name that the composer David Babcock gave his piece and the Trio’s music-making was, indeed, so penetrating, palpable and concrete that the melodies almost seemed to take physical form on the stage. Although Isaac Albéniz’s Tango was originally written for piano, it seemed tailor-made for Andrea Förderreuther’s guitar: she proved especially adept at bringing out the harmonic and rhythmic particularities of Spanish music, with the timbre of her guitar capturing to perfection the sound and colour of its folk influences.
Wertheimer Zeitung, May 08.2012	Castle concert: TrioConBrio presents a European premiere – excelling in music from Bach to Gismonti Matiegka’s Notturno proved to be a musical entity with many new facets, urgently provocative in style. An element of provocation and experimentation is part of TrioConBrio’s style too. Where it might still have been a matter of work in progress for the composer, the trio took everything in its stride – categorically and with great bravura. This was not a concert for anyone wanting a conventional evening’s music, and, perhaps surprisingly, its finest moments came in the second half: contemporary music is where TrioConBrio’s greatest passion lies, and the audience comes to share that passion. The three musicians had something special in store for Wertheim – a European premiere of a four-movement work, music for connoisseurs by Maximo Diego Pujol. It was received with thunderous applause and generated great pleasure on both sides of the invisible red line that divides artists and audience.  This was a quite wonderful evening, provided one was open to what was on offer – and the three members of the TrioConBrio presented a compelling case.
Fränkische Nachrichten, May 08.2012	Master concert in the castle: brilliance from TrioConBrio An exciting combination The passion and instincts of TrioConBrio captured the imagination of the audience in a varied programme ranging from Bach to the European premiere of a work by the Argentinian composer Maximo Diego Pujol. The Trio presented the four-part Buenos Aires Color Pastel with commitment, making the most of its haunting reprises. It offered both dreamy passages and tough, heavily accented sequences that almost ricocheted around the room.
PATRIOT Lippstadt, Nov. 29.2011	Superb mood-painting TrioConBrio offered an evening of highly intense music-making, marked by finely etched sensitivity … Beethoven’s best-known serenade (D major, op 8) brought a witty minuet and TrioConBrio’s instrumentation proved more colourful than the original scoring for strings. The exceptional artistry of the three players was manifest in playing of great homogeneity, sensitivity and temperament, its intense sonorities galvanised by rhythmic precision.
Oberhessische Presse, June 09.2011	Music from the heart It was fascinating to hear the overture from Die Zauberflöte, its artful counterpoint shown to even greater advantage in an arrangement for flute, viola and guitar than in the original orchestral version; but the effect can also be attributed to the playing of the trio’s three members, captivating in both its sensitivity and its pulsing joie de vivre. Further extracts from Mozart’s Viennese operas demonstrated their artistry in making their instruments sing.
Hinterländer Anzeiger, June 09.2011	TrioConBrio rewarded with enthusiastic applause The trio brought great verve and further impressive virtuosity to Ferdinand Rebay’s Folk Song Suite and enchanted the audience by presenting its Viennese sonorities in a tremendously congenial fashion. At the end of a demanding and artistically rich concert, the ensemble aroused further enthusiasm with Carl Scholl’s Wiener Gesellschaft waltzes.
Leonberger Kreiszeitung, May 18.2011	For openers: a trio of verve and virtuosity The sonorities were rich and colourful. Francesco Molino’s sonata immediately evoked feelings of sun and good humour. The trio brought a graceful lightness of touch to the Romanze, while the Adagio unfurled in a cantabile fashion and the final movement was full of dancing temperament. The afternoon did not bring typical salon music: it was entertaining, certainly, but also had depth, and the trio’s harmonious collaboration added to the musical delight.
Der Westallgäuer, March 23.2011	Overflowing with sonority The chamber arrangement of Die Zauberflöte made a lively opener, overflowing with joie de vivre. The Danzas españolas by the Spanish composer Granados are full of sonority and passion – music that ravishes all the sense as it evokes the sunny landscape of southern Spain, ripe fruit and the colour of oriental bazaars … the three musicians took special pleasure in their playing here.
Schwäbische Zeitung, Jan.11.2011	An auspicious start to 2011 Simple elegance and fullness of sound aroused the audience’s enthusiasm at the New Year’s concert as TrioConBrio brought classical music of exceptional quality to the Kulturschuppen. With their brilliant playing and incomparable lightness of spirit the three players conquered both the stage and the hearts of their listeners.
Emszeitung, Dec.2.2010	Colour and originality Astor Piazzolla‘s Verano Porteño is a marvellously expressive tango, uniting harmonic and rhythmic finesse with languishing melody that can take a hint of decadence. TrioConBrio handled this complex music with great expressivity.
Dorstener Zeitung, Oct.12.2010	TrioConBrio exuded spirit An enthusiastic reponse to the concert in Schloss Lembeck
Fränkischer Tag, July 27.2010	Inspired by a southern muse The reason why these three excellent musicians hold a top spot in their specialist area was evident from their lively and deeply felt performances in the Weisser Saal. Living up to their ensemble’s name, they struck musical sparks off each other from the first bar – a product of their exceptional charisma as much as of their consummate artistry and impressive virtuosity. The three women’s playing was distinguished by precision and a sense of freedom in sound and rhythm, crackling with excitement and a lively joy in their music-making, which extends from blithe buoyancy to pensive melancholy and avant-garde experimental daring.
Neue Presse Kronach, July 20.2010	A fiery trio lets the sparks fly TrioConBrio’s ‘Soirée latine’ at the Mitwitzer Schloss brought musical marital strife and tempestuous tango nuevo. It soon became evident in Molino’s trio, a work of early Romanticism, that the members of the ensemble are superbly fine-tuned to one another and can run the dynamic gamut from chamber-scale pianissimo to orchestral resonance. The trio by Molino gently unleashed the ensemble’s eponymous energy, which was then given free rein on Brouwer, Bizet, Rossini and, especially Astor Piazzolla. This was tango nuevo of the highest calibre, and the fugal playing was of a rare vigour.
Stolberger Nachrichten, July 14.2009	Joy in playing Tangible tangos: Such was the enthusiasm of the audience that the three musicians – whose joy in playing was evident – only left the stage after two encores.
nmz, Juli/August 2007	TrioConBrio performed the 13 operatic extracts in virtuoso fashion and with a sure sense of style, breathing new life into them with genuine ‘brio’. Thrilling stuff … It is amazing how tightly the sound of the two stringed instruments – often used to provide a harmonic foundation – meshes with the flute, which generally provides the melody. That being said, there is gratifying variety in the part-writing and each of the instruments must rise to technical challenges.
Wetzlarer Zeitung, Aug.22.2006	TrioConBrio rescued L’Hoyer’s arrangement from obscurity with a delightful CD recording. Even without voices and orchestra the scenes are full of life. It is amazing how the three musicians succeed in evoking Mozart’s opera with their perfection of ensemble and the ideally fine tone of their instruments. A splendid interpretation.
Ludwigsburger Kreiszeitung, July 10.2006	A highlight of the festival: Ludwigsburger Nachtmusique It was breathtaking to witness the way the flute, viola and guitar of TrioConBrio made the utmost of the overture to Die Zauberflöte.
Heilbronner Stimme, June 27.2006	TrioConBrio drew an enthusiastic reponse at the Hohenloher Kultursommer. Lengthy applause for an incendiary concert  Despite the noise of hooters and victory chants from nearby football fans, TrioConBrio carried on unfazed with its high-class music-making. The audience was enthused by a stream of powerful interpretations of classical and modern works. The vital and spicy playing of the musicians ensured a new level of appreciation for the trio by Spohr. TrioConBrio, which lives up to its lively name, richly deserved the long and insistent applause it received.
Schwarzwälder Bote, Jan.30.2006	Trio Con Brio thrills audience with an unusual Mozart recital The Overture to the Magic Flute forfeits none of its beauty through this special adaptation, but is rather presented in new clothing – more slender, precise and candid. The Trio “with Fire” has been rightfully named “the world’s smallest orchestra.” Long-lasting applause rewarded the fabulous Trio after its diversified offerings.
Stolberger Zeitung, April 12.2005	Opera recital without arias and noble singing artistry from the world’s smallest orchestra The “Trio Con Brio” thanked listeners for the extended final applause with an excerpt from Puccini’s “Tosca” – nothing vehement, but merry and animated.
Dr. Ulrich Kostenbader, Vice President, German Music Council, Nov.17.2004	…an unequivocally wonderful concert…I found it truly magnificent, interesting for all the new things being offered, exciting, even charged with suspense, full of temperament, really lively, emotional and highly professional.
nmz, September 2004, Annelie Steil	Their music is an emotional kaleidoscope and the expression of unutterable movements of the soul; the Trio Con Brio thoroughly succeeds in presenting it with emotion and virtuosity. This is vital music, played with temperament and spirit.
Classical Guitar, 06/03, Colin Cooper	Leo Brouwer’s Per Sonare a Tre was an earlier work for this combination. That was in his old style, spiky, uncompromising, the very essence of contemporaneity. During the following quarter of a century his style changed radically, becoming more instantly acceptable, often allusive, unashamedly using quotations from other composers. It’s as if in order to escape from the disturbing implications of serialism, they were desperately reaching out to touch the familiar past; awakening from a nightmare, one reaches for the light switch and recognises familiar and well-loved books. But talented musicians write good music whatever form they happen to choose or to be involved in, whether or not that form is a reaction to some other form, and Leo Brouwer’s abundant gifts come through whatever he is writing for. The links with the past fascinate him, and his deliberate references to Haydn, Wagner and Dowland in Landscapes, Portraits and Women are themselves fascinating, as were the references to Beethoven et alia in his Sonata: a looking backwards that illuminates both past and present. There is nothing new about this; Eduard Manet’s 1863 painting Le dejeuner sur l’herbe was a looking back to the 16th-century where he copied the form of an etching by Giorgione but went a step further by removing the clothes of one of the figures, a daring and even shocking thing to do in 1863. I would not claim that Brouwer strips anyone naked, but we do get something out of experiencing these allusions to the past in the context of contemporary music.  Menino means “little boy” and the piece is Sergio Assad’s own arrangement of a duo written for his partnership with the clarinettist Gabriele Mirabassi. It was done in response to a request by the Trio Con Brio for a lullaby, and it is charming in the extreme. Since this combination of three instruments is at least as rare as a clarinet-and-guitar duo, it would appear to be condemned to an undeserved obscurity. Which is a great pity.  Gismonti’s Forrobodo is also a response to a request. The title means “wild chaos”, but the essentially ordered music is closer to it’s other definition: party, dancing, fun. Fun it certainly is, with rhythms that bounce along highspiritedly. Like Astor Piazzolla, Egberto Gismonti studied with Nadia Boulanger; and like Piazzolla too he was advised to return to his own country and immerse himself in native forms, in his case the Brazilian samba, berimbeau and forro. It is tempting to see Gismonti as the Brazilian Piazzolla, but such comparisons are generally lazy and often misleading: Gismonti is an original musician using his formal study to give a wider expression to his country’s music. He himself had a Lebanese father and a Sicilian mother, an interesting fact for adherents to the belief that transplanted forms can thrive better in foreign earth. (Brouwer’s Dutch and Assad’s Syrian genes can be used in this argument, though not too much faith should be put in it.) Debussy is the only composer of the four not living, except through his music. His ravishing way with texture is given its due in the arrangement of his Trio for Flute, Viola and Harp, composed in 1915. There is no evidence that Debussy ever considered the guitar as an instrument he might compose for, yet Segovia was 25 when Debussy died in 1918 and already making a name for himself. In this arrangement, it is the juxtaposition of the flute with the viola that produces the most exquisite tonal textures; the harp’s delicate harp traceries are wonderfully realised by the guitar, and the only objection one can possibly have is that it is, after all, a guitar and not a harp.  The Trio Con Brio play with their customary sensitive musicality, intelligence and, needless to say, plenty of brio when the music needs it. Their fans will welcome this addition to their collection. If you are a stranger to their unique and invigorating art, make a point of listening to this record.
Gitarre und Laute, 2/2000, Peter Päffgen	…a new production, successful in every way This is a pleasure of a very special kind! Guitarists are so often encouraged to play chambermusic in its original form, yet so few of them take up the idea. The most cited reason is that their musical partners aren’t interested. That’s just not true! And it’s not just this ensemble that is proof of that. Rather I believe that such pieces do have a chance to be presented… and the fact that it isn’t about second class music can be readily demonstrated. While these musical works aren’t part of the “major repertoire”, it is clear that they are continually debated. Who for example is Joseph Kreutzer (1778-1832) …. Andrea Foerderreuther asks this in the booklet. Modern music books list a Jean Nicolas Auguste Kreutzer, born and buried in the same years as our Joseph….could it be the same person with a Germanicised name? Francois-Joseph Fetis hasn’t heard of any Joseph either (Biographie Universelle des Musiciens et Bibliographie de la Musique, Paris, 2. Edition 1875). Hoever Carl Friedrich Whistling (Handbuch der musikalischen Literatur, Leipzig 1828). He lists three trios by a J. Kreutzer, which Zuth also refers to, without being able to provide the slightest bibliographic details. Oh well! I don’t need to mention that the Schubert quartet was strongly argued about – not only in the guitar music world. Remember? Wenzeslaus Matiegka had a role to play there – but just listen to the work (again), and read its history. This is a new and successful production in all aspects – from the presentation of the booklet and the accompanying texts to the flawless recording and the interpretation. It lingers happily on your mind. The musicians display a refined form of entertainment, occasionally with a guest. As an outsider you get a feel for what it’s really all about – but only just a feeling. But you do notice the agreement and the harmony. Chambermusic is truly beautiful.
Flöte aktuell, 1/2000, Sibylle Wähnert	This CD was recorded in the ballroom of the lakeside castle Monrepos near Stuttgart. The following text comes from the accompanying booklet: “We chose this stimulating location to record in the hope of being transported away by the castle’s atmosphere while we worked forever in front of the microphone. We hoped the room’s excellent accoustics would carry us as if on small painted clouds and that a couple of the muses floating aimlessly around might like to keep us company – if only out of boredom! The serenades which once rang here still seem to sweep through the rooms…..” And they have been very successful. This CD draws special attention to itself, but it’s hard to work out whether it’s because of the truly excellent accoustics, the fresh style of playing or the charming presentation. The fact is though we can enjoy listening. It’s a real listening experience. The text of the informative booklet, in part superbly ironic, comes from the Trio’s guitarist, Andrea Foerderreuther.
Los Angeles Times, Nov.4.1999	Three Dimensional – Fresh Perspective Trio Con Brio appears to be making the right moves. The trio is on the move with a fresh idea and sound.
Fränkischer Tag, Sept.21.1999	Thunderous applause – the enthusiastic public showed absolutely no sign of getting up or wanting to leave the hall.
Potsdamer Neueste Nachrichten, July 27.1999	Trio Con Brio won public support Since 1990 the all woman trio from Stuttgart has constantly received invitations from international music festivals. No wonder, since these musicians don’t just gain favour from their radiance but also through their musically sensitive reproduction of works. The trio appeared at the Sanssouci Music Festival and left the best of impressions behind them. Brouwers work is a strong, very exciting piece, which leads into 3 epochs. It is a tasteful of instrumental bon mot which Trio Con Brio knew how to stress brilliantly. It was after all composed for them…Debussy’s sound celebrates a triumph in his sonata. Refinement and transparency of sound are priorities. It is a work which presents itself partly in a lyrically-idyllic manner. However, the emotional highs and the occasional outbursts always seem disciplined. These three women won great acclaim for themselves with the Debussy sonata – hopefully not for the last time in Potsdam.
Maerkische Allgemeine, July 26.1999	Brouwer overcome with gusto Those watching the devotion with which the trio celebrated the work of Brouwer knew instantly that this music was tailor made for them. Brouwer uses creative reference to various epochs of music history and a tendency to program music (particularly beautiful here is the dramatically-evocative guitar part). By doing so, he provides his interpreters with an interesting challenge. The trio overcame this with gusto. The famous trio sonata for flute, viola and harp by Debussy was rewritten specifically for guitar by Foerderreuther, thereby opening up a broader spectrum of sounds. The all woman trio from Stuttgart was rewarded with resounding, ongoing applause from an audience appreciative of their fine music and another successful Summer concert.
Stuttgarter Zeitung, July 9.1999	Trio Con Brio is creating a great name for itself with works by the Cuban composer Leo Brouwer and Brazilian composer Sergio Assad. The work is dedicated to the trio ant it’s interpretation imitated the various musical examples and styles (eg “Portrait of Wagner and Mathilde). Yet inspite of this the guitar let the folkloric character shine through.
Ludwigsburger Kreiszeitung, July 3.1999ent Deutscher Musikrat, 17.11.2004	Playing with fire – the virtuoso way The all woman Trio Con Brio played lyrically, as well as repleat with musical spirit, wit, charm and fire. This suite of bewitching beauty, which the Cuban composer Leo Brouwer dedicated to the trio, deals with women and landscapes, leads in pictures and dances to a meeting with Wagner and Mathilde, ending finally with “Dowland’s Passion”. The latter was that of the Irish-english lute player and madrigalist John Dowland, whose rich Renaissance art of composition was overshadowed by melancholy at the end of his life. Such sounds remained naturally episodic in Trio Con Brio’s richly motivated playing. With this the case the premiere was received with loud applause and the stage strewn with red roses of appreciation.
Ludwigsburger Kreiszeitung, May 4.1999	Chambermusic in artistic perfection The audience in the lakeside castle was enthused from the start – it was the great moment of chambermusic. The lively, moving Overture of the Opera “La Gazza Ladra” was entrancing in its chambermusic form. The trio’s wealth of feeling gave the work it’s whole orchestral depth and beauty… W.A. Mozart imitated this special type of music box with his “Flute” piece KV 616. The three musicians turned the playful melody into an artistic gem, in which the charm of the music boxes was inherent. The soft tones were kept in the trio’s playing, just as the hurried forte passages retained their purity of sound.
Soundboard, Guitar Foundation of America, Spring 1999	Trio Con Brio in Montreal This concert was a delight from beginning to end; the new compositions by Assad, Brouwer and Rak were first-rate, and each revealed new dimensions of these versatile composers; the performances were stylish, spirited and intelligent.
Chris Kilvington, Classical Guitar, August 1998	Impressions Trio Con Brio, Koch Discover International DICD 920497 A smart name. Trio Con Brio, very memorable. Would the programme live up to it? The performers were certainly giving themselves a chance with some very memorable composers included, with the Brouwer piece the only one not written for them, so let’s see.. The first movement of Sérgio Assad’s piece, the Frozen Garden, is insistent and reflective by turn, quite compelling, followed by a particularly poignant viola in Blue Solitude. The concluding Fire Place, although centrally slow, finally allows the trio to perform with the rhythmic vitality and attack associated with their name. A most enjoyable work. Brouwer’s Per sonare a tre is the kind of piece to have the musical reactionaries running for cover (“What, no tune then?”), full of sound effects and interjections from the different instruments that at times come very close to simulating an animated cosy three-way conversation. Elsewhere it’s full of little individual dashes and flurries, politely taking their turns in the lead like Tour de France cyclists. This is music to be fascinated by. I would like to have known a little more about the background for German Gunter Möll’s Transition Man. Unfortunately the notes simply give an all-purpose outline for each composer, with almost nothing on the pieces so I’m no wiser. The flute kicks off with sound not a million miles from that of a didgeridoo, and then we find ourselves being swept along on an allegretto bubbling froth of a sound which subsequently subsides into an adagio second section of real lyricism. A concluding allegro opens up with a bouncy riff from the guitar, creating the foundation for a sprightly ending. Stepan Rak’s five short dances are permeated with the sense of drama that is an almost inevitable hallmark of his style. A rose-between-the-teeth Tango, full of humour; a determinedly stiff Valse, to be danced by some rigid old tin soldier and his powdered doll; a vibrant Rumba; a lovely Slow Fox, which reminds us of the exquisite power of a gently moving guitar arpeggio – you could write almost anything above and it would sound good; and a Rak’n Roll (yes, really) possessed of a melodic wildness never encountered by the original form – a brassy ending for a mostly enjoyable Dances Con Brio. And, yes, the trio did justify their name. It’s good to discover the guitar flourishing in a neat new chamber programme such as this, definitely a CD to recommend.
Akustik Gitarre, Thomas Muttray-Kraus, March 1998	Three excellent female musicians have managed to create a truly unusual trio. Imaginative compositions, full of all sorts of good things, have an ingredient seldom heard in today’s music: humour. “Impressions”, the trio’s premiere work, is genuinely impressive. The instruments share a democratic relationship in this group. It’s true the guitar serves more often as accompaniment, but this isn’t the case in terms of sound. The viola, flute and guitar take up every opportunity to shine in their own right. A class act.
Gitarre Aktuell, January 1998	This typically 19th-century Viennese form produced some pretty music, of which Kreutzer’s and Molino’s Trios are good examples. Schubert went one better; he and his family must have had a lot of fun playing it , and it is possible for us to have quite a lot of fun listening to it. The performances are delightful, as might be expected from this ensemble. Colin Cooper, Classical Guitar, July 2001 Best Reference: Three Women, Three Instruments, One Sound This is how you could characterise Trio Con Brio’s debut CD “Impressions” – a delightful program of this century’s chambermusic. In terms of character, colour and multiplicity the works offer high quality listening experiences. And again and again there are new nuances to be discovered in that listening. These three women do themselves justice: they play with fire and spirit where the partitur requires and on the other hand with truly sensitive formulation when appropriate to emphasise sounds or paint broader tones.
Sadek Pharon, Syria Times, Oct.21.1997	Trio Con Brio: with vigour and spirit The three young ladies played with light spirit, tact and elegance. W. Matiegka, the forgotten bohemian composer, has a wonderful music that is serene and consonant, imitating the vein of his epoch. The minuet is the typical dignified dance of those bygone days. The first trio is, however, a fine piece of celestial and meditative music. Matiegka is here freed from the strangulating bonds to the royalties and the superflous aristocracies. He recovers here his crystal-clear sound of a composer and sound poet. Here he avows his ethereal emotions in a marvellous music. The Zingara is animated and gay, but is also rich with sensible feelings…A highly enjoyable music evening.
Fono Forum, Oktober 1997	This CD’s unusual presentation ensures attention right from the start. And the tonally divergent blend of flute, viola and guitar was exactly what encouraged Assad, Rak, Moell and Brouwer to compose for this all female ensemble. Trio Con Brio really offers something worth listening to on their first CD. Above all, the pieces by Moell and Rak offer listening treats which would challenge any musical ability. Trio Con Brio successfully takes up that challenge. It is music which balances stylistically on that ticklish edge between classical, jazz and folklore and which is clearly conceptualised from the guitar’s point just like the works of Assad and Brouwer.
Peter Greß, Esslinger Woche, Aug.06.1997	About Trio Con Brio and Playing with Fire A confident trio has set itself the task of conquering the classical world. Trio Con Brio shows real courage and determination by pushing the boundaries of their musical field as far as possible. The conversion of the compositions is masterful. The music is alive. It bares its soul. It has that certain something which is only possible to sense. It lingers in your ears. “Impressions” appeared in worldwide distribution at Koch’s – a spectacular and important first step on the way to success for a first release.
Stuttgarter Rundschau, Oct.21.1996	Concert of the Elite Class “Trio Con Brio“ presented no run-of-the-mill-programme. It became evident after the opening bars that Elisabeth Deinhard (flute), Sally Clarke (viola) and Andrea Förderreuther (guitar) are extremely proficient instrumentalists. The listener was impressed by subtly differenciated teamwork, and brilliant technique. … There were quite definite impulses continually coming from the guitar.
Esslinger Zeitung, Oct.18.1996	More phenomenal than a packed stadium for the three tenors: That three young women can fill the Kaisersaal of the Court in Esslingen with relatively subtle advertising is a greater phenomenon than the three tenors’ sold-out stadium. This hall is a picturesque setting, the fresco roof design depicting allegorical figures resting on clouds; in this hall the truth must be heard, and in this instance the truth of high musical ability, with interpreters secure in their musical creativity and conviction. Trio Con Brio immediately laid their cards on the table with Rossini’s Overture, “The Thieving Magpie“. The Trio is an elite ensemble of wonderfully-matched musicians, who each can at any time lead the furore or provide a solid backing, whichever the spirit of the music demands. Mozart’s late work, the “Flötenuhrstück“, saw the three ladies become singers, competing in a flurry of bel canto. Composed in a relatively modern tonal language, Sergio Assad’s “Winter Impressions“ provided much opportunity to demonstrate musical “con brio“ (nomen est omen). Finally then, Stepan Rak’s “Dances con Brio“, modern dances, sprinkled with delicious soli and a quite off-beat “Rock’n Roll“, but, as everything else, thrillingly executed.
Nürtinger Zeitung, June7.1996	World Premiere of Sergio Assad’s “Winter Impressions“ Elisabeth Deinhard (Flute), Andrea Förderreuther (Guitar) and Sally Clarke (Viola) put on a excellent display of fascinating virtuosity, brilliant harmony and geniality, all of which was highlighted by their choice of repertoire. The programme was an unusual and dynamic compilation … The world premiere of “Winter Impressions“ was eagerly awaited; this work, performed directly after the intermission, allowed the listeners to bear witness to a unique occasion. It was as if Sergio Assad had inscribed his music onto the very souls of the musicians. Audible proof – “The frozen garden“, “Blue solitude“ and “Fire place“ clearly demonstrated what ability these musicians posess. Deinhard, Förderreuther and Clarke played like it was their second nature … instrumental brilliance gave rise to bold soundscapes with wildly flickering images. The Trio has made a fortuitous choice in the violist Sally Clarke. This graduate of the Herbert- von-Karajan-Foundation fitted in without a hitch; her precise and passionate playing was exquisite.
Delmenhorster Kreisblatt, Oct.4.1994	A splash of colour on the concert landscape: A small ensemble comprising guitar, flute and viola is in this day a rarity, a splash of colour on the concert landscape, forever on the look-out for new musical constellations. In the age of Biedermeier, middle-class women would gather with the intent of performing “house-music“ upon these decorous instruments. Stuttgart’s Trio Con Brio payed hommage to this tradition with their concert in the “Kleines Haus“, performed with a perceptible twinkling of the eye… It is natural that a guitarrist of Andrea Förderreuther’s calibre should take centre-stage in the Isaac Albeniz; the soloist utilized the musical terrain to offset clearly exacted runs and sheer virtuosity which was also engendered by her co- players.
Singener Wochenblatt, Jan.26.1994	“Sprightliness and sophistication“ One was curious to see what Trio Con Brio had to offer – a rather unusual ensemble, comprised of three young women playing flute, viola and guitar respectively, and performing music old and new. The music was presented with a suaveness, virtuosity and genial ease, all of which was conducive to an atmosphere of anything but “deadly serious“. The audience responded enthusiastically, in particular to the Beethoven Serenade which was performed with a scarcely perceptible “nod and a wink“. Spontaneous applause erupted following the Trio in the third movement, and again after the Polonaise – breaking the “concert rules“ somewhat, but to the obvious enjoyment of the musicians. After intermission, Leo Brouwer’s “Per Sonare a Tre“ was briefly introduced by Andrea Förderreuther. A pyrotechniques of sound and noise ensued, a musical event which would have provided novelty even for the accustomed Avant-garde ear. Optically and musically a very exciting piece, presented enthusiastically. There was much applause, flowers, encores …
Fränkische Landeszeitung, July 19.1993	Unusually unconventional The three ladies call themselves Trio Con Brio and so they sound: blazing and boisterous. …The trio is well known to shun convention. In this arrangement of Rossini’s Overture to “The thieving Magpie“ however, they were in for some fairly unusual unconventionality, a means justified by the end. Maestro Carulli’s transcription fittingly reconstrues the original’s effects; the sprightly interpretation was to the ladies credit.
Allgäuer Zeitung, June 19.1993	Three ladies’ daring experiment The three ladies played with intriguing temperament and elegance, boldly venturing into avant-garde experimentation. They achieved a masterly blend of sonority, expression and virtuosity. From the lively applause at the end of the evening it was clear that the apparent “experiment“ had been a success.
Westallgäuer Zeitung, march 23.1994	A top-notch trio from the German region: Trio Con Brio’s sound is fabulously multi-facetted. With brilliant dexterity – particularly on the part of the flautist – polished technique and virtuosic ensemble playing the musicians showed that there is every reason why they should be one of the top-notch trios in the german region.
Münchener Merkur, June 15.1994	A serendiptious discovery – Stuttgart’s Trio Con Brio: Günter Möll’s composition, “Transition Man“, proved to be a fascinating piece; listeners were momentarily so transported that they clapped as enthusiastically as if hearing “Eine Kleine Nachtmusik“. At the close of the programme one was returned to the more familiar territory of the Vienna classics. The Notturno op. 21 by Wenzeslaus Matiegka represents an ideal of “challenging“ music for domestic performances, somewhere between the extremes of Mozart and Beethoven: cultivated elegance and perfection, a lively interchange in sonorities between the higher flute register and the deeper mellower viola, accompanied by a guitar commentary evocative of harpsichord music of the Rokoko period. A brilliant evening, one, which left its mark
Stadt Giengen, Dec 22.1992	Evocative of dense and orchestral sonority: Despite of the combination of instruments seeming a little unusual, the Trio’s technical and musical acumen rhymed as cunningly as does its name. The different timbres were so acutely tuned that over the homogeneous centre there was always enough space for witty sound effects by instruments blown, plucked or struck, evocative of dense and orchestral sonority … Using her guitar as a harmonic basis, Andrea Förderreuther demonstrated her expertise with impressive virtuosic passages in Antonio Diabelli’s work.
Die Rheinpfalz, Dec.3.1992	Latin American style coffee house music: The Trio’s presentation of the movement by the Brazilian composer Egberto Gismonti was rendered with great aplomb. Folkloristic elements and rhythmic sophistication blended into an entertaining piece. Rapid staccati, percussive effects on the guitar, viola pizzicati during the flute passages and the all-pervasive melody seemed to have been improvised in the style of Latin American coffee-house music. The performance was sprightly, with seamless continuity.
Deggendorfer Zeitung, Aug.24.1992	Great sense of lyric The flautist displayed a fine concept of both spirit and sound in Beethoven’s op.8, and savoured every detail with warm-hearted virtuosic elegence. The guitarrist played very intensely and with a great sense of lyric … Dazzling was the three ladies’ poise and precise ensemble playing, their characteristic sonority and accurate articulation.
Winnender Zeitung, May 12.992	No affected twitching: To begin with, an arrangement of Mozart’s “Flötenuhrstück“ – this buoyantly charming work received a well-sounding and well-rounded interpretation, involving none of the affected twitching with which Mozart’s compositions have so often been shrouded… . In the Trio op. 16 in A-major by Joseph Kreutzer, one saw this musical team give all credit to their name, because this really was “fiery“ music making, with such ceaseless musical sensitivity and stylistic competence, that never a maladroit blaze erupted from the kindled fire. Particularly impressive in the first movement, Allegro risoluto, was the clear transparence of the voices, and the playing, effervescent like foaming champagne. A dreamy Adagio, redolent of spring, was followed by the rhythmically terse Rondo alla Pollaca, closing the work with a virtuosic flourish. An intoxicating finale in the transcription of Rossini’s Overture “The Thieving Magpie“. Trio Con Brio once again played their trump cards, namely a wonderfully pure but substantial sound, and precisely contoured individual voices melding into the context of the whole. Without wishing to diminish the Trio’s achievement as an ensemble, it must be mentioned here what an exqusite flautist Elisabeth Deinhard is; her perfect technique, wonderfully tempered tone and timbre were absolutely compelling.
Mannheimer Morgen, March 9.1992	Transparent elegance: Trio Con Brio – in full compliance with the name, musical sparks fly immediately from the onset of the music. The choice of guitar in lieu of a keyboard instrument initially seems to imply a reduction of expressive means. Antonio Diabelli’s Serenata Concertante proved this fear unfounded, in some places one would indeed favour the guitar for its transparent elegance. In this particular rendition, Andrea Förderreuther was excellent in her sovereign realisation of the rather unwieldy guitar part.
Mainpost, Sept.30.1991	Brave foray into the musical “Avant – garde“: A brave foray into the musical “Avant – garde“was risked by the three musicians in Rudolph Kelterborn’s “Three short pieces“ (composed in 1984). The short, fragmented phrases frantically exchanged between the instruments, seem never to achieve conciliation; the tonally disjointed, gloomy melody tumbles in anguished, sighing dissonance, as if driven by an invisible force, incessantly escalating into vehement outcries. The ensemble was sovereign in its mastery of the sometimes enormously complicated rhythm, which was challenging for musician and listener alike.