Arrangements for Guitar and Harpsichord
The plucked-string partnership of guitar and harpsichord seems a natural one, yet only in the last half-century has it taken root; in his annotation Kraft offers credible reasons for this. Perhaps the most telling is that the modern guitar has a wider range of tone-colour and dynamics than its predecessor (and a greater compass), enabling the two instruments either to blend or to contrast with one another. What is preached in the booklet is persuasively practised in the recording. The chosen music is familiar in its original form and equally, albeit differently, charming in its new garb and the movements from Rodrigo's Fantasia, stripped of their orchestral finery, retain the underlying simplicity that gives them their essential appeal.
Some years ago I told a very famous harpsichordist that I looked forward to the day when all guitarists would be musicians, a hope that was promptly echoed in respect of harpsichordists! When Kraft and Silver become norms, Nirvana will be a reality. It would be difficult to fault them—and certainly not worth the effort; by any reasonable criterion this is splendidly refreshing music-making. If you do not recognize the foregoing as a strong recommendation to buy this delightful record, then my ability to communicate is surely in serious decline.'