"A performance by the SFGQ was a feast for music lover's ears. It was a rare performance by four immensely talented and sensitive artists. For two hours of sheer listening pleasure the audience was treated to some familiar and not so familiar Latin works...The flow, which is so necessary to make the work a success, was immediately established by the group's unity. They are so in sync with each other they truly play as one -- not four separate individuals. A rare feat." Midland, Michigan Daily News - May 10, 1999 Audience treated to guitarists' show Performance featured some familiar and not-so-familiar tunes From the Midland Daily News / By Yvette Birs Crandall / for the Daily News. Monday, May 10, 1999 The Saturday evening performance by the Santa Fe Guitar Quartet was a feast for a music lover's ears. The group, which was sponsored by the Midland Community Concert Society, graced the stage of the Midland Center for the Arts auditorium in what was to be the last performance of its North American tour. It was a rare performance by four immensely talented and sensitive artists. For two hours of sheer listening pleasure the audience was treated to some familiar and not-so-familiar Latin works. The evening began with four pieces from "El Amor Brujo" by Manuel de Fall. The most well-known of the four was "Danza Ritual del Fuego" or "The Ritual Fire Dance." The selection was the perfect introduction to the quartet's style. The depths of the group's technique was most evident in the intriguing structure of this work. The next selection was two sambas, "Grito Santiageno" and "Bailecito." Both pieces had very interesting arrangements, which made use of intricate rhythms and patterning. The fine musicianship of the Santa Fe Guitar Quartet really gave the audience a true appreciation of Latin American music. One was able to hear the richness of the heritage and spirit of the South American people throughout these works. Also on the program was Claude Debussy's "Petite Suite." Originally composed for two pianos, it is more often scored for full orchestra. By using a soprano as well as a bass guitar to augment the range of the other two guitars, the quartet did not have to transpose the work. They were able to play it just as it had been written. Each of the four parts was well-balanced and clearly discernible. Closing the first part of the program were two traditional tangos. The first was "La Cumparsita." In the Santa Fe Guitar Quartet arrangement, the very familiar melody is clearly stated in the first eight measures. It is then treated as "theme and variations." The melody is passed from one musician to another throughout the entire work. It is here that the audience is able to see what makes this quartet so unique. The flow, which is so necessary to make the work a success, was immediately established by the group's unity. They are so in sync with each other they truly play as one -- not four separate individuals. A rare feat. Equally as good, the second tango, "Taquito Militar" or "Military Heel" was vibrant. It, too, had the essence of the tango. You could almost see the couples dancing. After the intermission, the quartet returned to further entertain its audience with "Introduccion & Fandango." There was an incredible lightness about the piece. It was simply a gorgeous piece of music. Influenced by a visit to Central and South America, Aaron Copland composed his "Two Latin Sketches" in 1959 for the Festival of Two Worlds in Spoleto,¡ Italy. Exciting and rhythmically enticing, these two works are laced with hand clapping and changes in meter, which give it the dynamics so often associated with Copland's other works. It was an extremely lively piece. Not all Argentine composers follow the traditional rules for writing tangos. Astor Piazzolla wrote his tangos to be listened to -- not danced or sung. He was a modern composer in every sense of the word. His works, however, have proven to be as sensually appealing and reflective of his native Argentina as that of any other composer of his time. The Santa Fe Guitar Quartet chose three of Piazzolla's finest compositions. These were the highlight of the entire evening. The first, "Invierno Porteno," came from a larger work titled "The Four Seasons." While Piazzolla may have broken all the rules for tango composition, he certainly was able to keep the essence of his heritage, while at the same time making the tango new again. "Buenos Aires Hora Cero" was a wonderful piece to watch as well as listen to. Intended to capture the myriad sounds found in city streets as well as its nightlife, Piazzolla has the musicians making all sorts of sounds in themost interesting ways with their guitars. They even played each others instruments. The third piece, "Violentango" was extremely strong and modern in nature. The quartet's impeccable skills were very evident here. The Santa Fe Guitar Quartet closed the evening with a lighter piece titled "Polca Crucena." This composition allowed for some improvisation by each of the performers. It had a blues feel to it and its up-tempo beat helped tor ound out a wonderful evening of remarkable and outstanding musical presentation.