Local Objects
Zsófia Boros
Local Objects
Zsófia Boros
The second album from the Hungarian-born Vienna-based guitarist Zsófia Boros finds her embracing a broad scope of music, broader even than on her outstanding debut ‘En Otra Parte’.
This time the range extends from contemporary composition to jazz ballad via music from Brazil, Argentina, Italy and Azerbaijan - all embraced with imagination and creative flair. Pieces played here by Zsófia Boros include Egberto Gismonti’s challenging ‘Celebração de Núpcias’ (made famous on Dança das cabeças), Franghiz Ali-Zadeh’s ‘Fantasie’, Al Di Meola’s ‘Vertigo Shadow’, and Carlo Domeniconi’s Turkish-influenced ‘Koyunbaba’ suite while other composers include the Azerbaijani, Franghiz Ali-Zadeh, and the Argentinian classical guitarist Jorge Cardoso.
These Local Objects - the title comes from a poem by Wallace Stevens - are rendered universal by Boros’s subtle and sensitive playing in an album recorded at Lugano’s Auditorio Stelio Molo in November 2015 and produced by Manfred Eicher.
Review
Phil Richards
Born in Hungary but based in Vienna, the reputation of guitarist Zsofia Boros will only be further enhanced by the release of her second album on the ECM label. In my opinion this album is the logical path to take after her debut En Otra Parte (ECM2328) which drew primarily on music of the Americas. On Local Objects she casts her net much wider, performing pieces from Azerbaijan, Argentina, America, Austria, Brazil, France and Italy.
The opening track ‘Nocturne’ by Mathias Duplessy really sets the tone of the album. This is a very beautiful piece and Boros plays with great control. Next up is Brazilian Egberto Gismonti’s ‘Celebração de Núpcias’, which can be a very challenging piece to play, and also to listen to, but Boros really understands the subtle nuances in the music and makes it all seem so effortless which only demonstrates her skill as a guitarist and musician.
The high quality of performance and composition continues on the remaining pieces and especially noteworthy is Carlo Domeniconi’s Turkish-influenced suite ‘Koyunbaba’. Judging by this recording and the aforementioned ECM debut, I think Zsofia Boros will continue making quality recordings for years to come.
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