Another great album from the young guitar virtuoso Jakub Kosciuszko, coming after his highly acclaimed debut CD 'Here Comes The Silent Dusk. Music of Marek Pasieczny'. From the reviews: The excellent guitarist Kościuszko is revealed as a very talented young who has the uncommon capability to express, through his guitar, deep and dense emotions, and to catch and underline details and shades like few guitarists can. Ermanno Brignolo, Sei Corde Magazine Kościuszko is a fine player, without discernible technical or interpretative limitations. Al Kunze, Guitar Foundation of America, Soundboard Magazine An extraordinary sonoristic imagination, a source of ultra rich set of colours, dynamic and articulation nuances. prof. Marek Dyżewski, Polskie Radio Jakub Kościuszko perfectly feels the inspirations and expresses them in premeditated, tasteful and authentic playing. Jowita Dziedzic-Golec, RMF Classic, „Twoja Muza” Magazine For a music lover, listening to another recording of the guitarist Jakub Kościuszko might be an occasion to reflect over the power of classical guitar- An instrument which, although popular, still struggles for acclaim among frequent concert hall visitors, composers and, last but not least, A&R directors. The J.S. Bach’s second Sonata for violin solo, opening the album, portrays how excellent a guitar can be as a medium to convey the richness of Bach’s music. The polyphonic structure surely does not suffer from the ‘guitaristic’ approach. One could even venture the opinion, that a guitarist has the ease of playing independent voices with which violinists, constrained by their bow, often struggle. We can have similar impressions when immersing ourselves into articulation, dynamics and the other elements of music which allow the intended interpretation of the album when applied in an intelligent, impressionable way. J.S. Bach, of course, did not compose for the guitar, yet I suppose that if only he had had the chance to know its virtues, he would have been under its charm. Aleksander Tansman was undoubtedly under the charm of the instrument, as well as the friendly persuasion of the famous Spaniard Andres Segovia. In his artistic legacy one willfind numerous excellent works which were included into the canon of guitar repertoire and subsequently set development direction of the instrument. Listening to Tansman`s music we can allege that for him the guitar became a medium for expressing poetic, subtle and sophisticated emotions. His pieces, although difficult to play, do not allow to showcase one’s virtuosity, unless virtuosity is considered as musicality, deep sensitivity, the ability to use all kinds of sound colours and timing enabling the listener to breathe with every phrase. Both of the recorded mazurkas feature this kind of nobility. In addition, the fact that they bring together the guitar works of Tansman is also interesting. The first, written in 1925, was the very first one written for guitar, the second one, Hommage a Lech Wałęsa (1982) was the last guitar piece published by Tansman. Astor Piazzolla’s Milonga del Angel, recorded on the album directly after the mazurkas, seems to confirm the belief that the guitar is an instrument that perfectly creates nostalgic and melancholic moods. But after comparing it with Muerte del Angel we will discover that a skillful guitarist can indeed express different emotions also. Who knows, perhaps it is the diversity why Latin Americans, famous for their spirit and emotional expression, love the guitar so much. The final two pieces of the album were written by eminent jazz musicians – Keith Jarrett and Pat Metheny. Again, Jarrett’s composition raises the question about the possibilities of the guitar in realising complicated, multi-level structures. One shall not forget that The Köln Concert Part IIc was originally performed on the piano, an instrument that gives its player much freedom in creating these structures. Also, when listening to Metheny’s A map of the world, I realise, that I do not know any other instrument so capable of making us reflect upon anything and everything... Piotr Pałac Translation: Bethany Eyre