Press

The unusual has always got something wonderful (...) an independent record of those that are seldom found, interpreted with a good sound, an interesting as well as attractive repertory and a good presentation.
It is true that you could sing Schumann's Sonata for violin and piano #1. And, in fact, you could do the same with the other three pieces which integrate this programme. There lays the beauty of these works, impeccably interpreted in the commented register (...).
The sensibility that the members of the duet demonstrate, enlarges the intrinsical beauty of the four compositions that integrate the CD, turning it into an assayed discovery.

June 2004,G.Serain: "Amadeus", magazine (103.7)


(...) The register shows a first line technical quality. The repertory has been selected with an exquisite esthetic criterium, the presentation is careful and beautiful and the interpreters demonstrate they have an absolut empathy that can be seen in their conjunct work, to which they add their musical individualities, of an elevated poetic rank, as much as the rigor in the preparation of the performance.
(...) Either Marina López or Eduardo Waisbein make rigorous interpretations in the stylistical aspect, with a solid technique and a gracile spirituality (...) In like manner, a transcription from Kálmán Berkes is what can be heard from the irresistible Béla Bartók-Zoltán Székely's "Ruman Folkloric Dances". The passion and vitality that emerge from then is comparable to the one which arises of the beautiful Guastavino's Sonata for clarinet and piano, another pearl of the register to which the duet López-Waisbein make absolute justice. In short: chamber music of a higher level for a repertory that includes some of the great personalities of the music, beyond their natonalities, times or esthetic postures.

(June 2004, Eduardo Giorello: "El Día", newspaper)

AN ATTRACTIVE DUO BRINGS “OTRO CANTAR”.
“Marina López’s clarinet and Eduardo Waisbein’s piano know each other for a long time. Like virtuous buddies, enemies of reiteration being sensible in the game of sound and silence, they show in “OTRO CANTAR” a work that makes itself strong from the smooth handling of details weaved a duet...”

(May 2004, P.V. Diario Popular)

Despite the discouraging period people are going through in Argentine, a country that has been upbraided for decades by ignominy and fraudulence of its leaders, an admirable sample of what musicians are able to achieve comes into our hands. There can be no doubt about that the recommended CD “OTRO CANTAR” by Marina López (clarinet) and Eduardo Waisbein (piano) is an authentic revelation.
Showing each other’s feelings perfectly with an enviable sound, this young duo offers us the excellent recording of a crystalline and radiant interpretation of the Schumann’s N°1 “Sonata for violin and piano”, Mozart’s K378 “Sonata for violin and piano” and Bartók’s “Romanian folkloric dances” all of them transcribed for clarinet in addition to an exquisite “Sonata for clarinet and piano” by Carlos Guastavino (Santa Fé, 1912-2000).
Chapeau!
Further information at: www.melomanos.com

(January 2004 – Antonio Schneekloth – Turia Magazine – Valence. Spain)

The excellent duo made by the clarinettist Marina López and the pianist Eduardo Waisbein recorded a CD dedicated both to the beautiful Sonata for that instrumentation composed by Carlos Guastavino in 1970 and to the transcriptions of plays originally written for other formations (Schumann’s N°1 “Sonata for violin and piano”, Mozart’s K378 and Bartók’s “Romanian folkloric dances”). These versions are featured by the warmth of its playing, the strictness of style and the good planning.

(December 17th 2003 – Diego Fisherman – Página 12 – Presentations)

...The piano shares its responsibilities with the clarinet in every play.
Slurring long sentences perfectly with a great variety of blends, Marina manages to resemble the expressive possibilities of the piano.
The duo chooses a very poetical vision for Schumann’s Sonata where the nostalgic character of the main theme of their first movement is emphasised as well as the two first ones.
The balance of instruments in Mozart’s play is inevitable since the composer granted the same importance in the performance of melodies. The atmosphere is intimate in the second movement and the refinement of Marina and Eduardo’s performance can take the sensitive music-lover to introspection. The duo shows the humour in the rondo of this play, in the respective of Guastavino’s very inspired one and in the two last Bartók’s dances. The interpretation of these third and fourth dances is extremely evocative. These catchy melodies receive a simple and popular well-conceived approach.
This proposal must be listened to with much attention in order to be able to enjoy oneself hugely and not to miss the minimum detail ( for example, it is notable the atmosphere they create at the beginning of the coda of the first movement in Schumann’s play)...

(December 2003 Claudio Mamud – Páginas Musicales)


 

 

“... one of the best versions I’ve
listened to of Brahms’ second Sonata, rendered by two true artists...”

Nicolás Chumachenco

 

 

 

 

 

 


“Brahms’ first Sonata was played with certainty. Having an ample and mellow sound and using a certain technique in addition to an admirable artistic taste the clarinettist [...] showed aptitudes for a successful career. The young pianist exhibited assurance, a good grip on the keyboard and a good knowledge of the play. And taking into account the considerable scope of the play, he can be forecasted as a brilliant instrumentalist.

Juan Carlos Montero – Diario La Nación.

“... Marina López delighted us in an exemplary handling of sound in addition to a phrasing combined with a breathing technique... Eduardo Waisbein led the piano part in an impeccable way; his digital clarity is outstanding. He does not play routine intervals and he is always attentive to assembly. His piano sound is categorical like on stage”...
“... They showed that youth divine treasure consists in knowing that one is in time to begin great things...”

October 16th 1994 – Diario La Nueva Provincia – Bahía Blanca.

“... A concert applauded with fruition. Something to remember among the good nourishment of the spirit...”

August 21st 1996 – Diario Río Negro.

“A tuned duo: Marina López and Eduardo Waisbein have formed a high quality couple”.

May 29th 1996 – Diario La Nueva Provincia de Bahía Blanca.

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