Each country has its own “schools”. In our country, when speaking of soloists, we do not have to expose first class international performers in instruments such as the viola or the euphonioum, however, we do have, regarding the guitar, an important tradition. During the second half of the last century many excellent musicians appeared, some of which have enjoyed international consideration. From this point of view, every new release added to an already existing outstanding level refering to the Greek classical guitar art is welcome. Alexandra Christodimou and Yannis Petridis have already in their record 17 years of active presence in Greece and abroad. We first came to know them through discography in 1998 when their first CD ”Rhapsody for two guitars`’ was released. In this second album they have focused on the Northern coasts of the Mediterranean, performing works written by Spanish, French, Italian and Greek composers. Works written in three centuries, bright, joyful, erotic, melodic, nostalgic, dancing. Pages of music for 12 strings in reference performances. Listening to the record we heard no week point. On the contrary, we heard things that impressed us, such as: Dynamics formed to the smallest detail, musicality and accuracy logically combined, clarity of phrasing, the two performers approaching music in an identical way, shades of sound. In general, the sence of an effortless and easy outcome.
So much about the musical performance. Praises are also due to the works themselves. To begin with, all transcriptions are considered excellent, carried out by musicians who not only master the instrument but also deeply comprehend the pieces in their original form –orchestral or other. To continue, the choices of works performed. What can be said of Spanish Dance N.1 from de Falla’s “La Vida Breve”, the Allegro Spigliato from Gangi’s “Suita Italiana” or the Fandango from Boccherini’s “Quintet in D”. All are considered to be some of the most precious diamonds on the crown of international guitar literature! Who could not be moved when listening to “Serenata Andaluza’s” ‘magical’ harmonics or to the emblematic, melodic line of “Aranjuez Concierto”? How can we not applaud to technical and expressive achievements in Pierre Petit’s “Toccata” and “Tarantelle” or Kostas Grigoreas’ “Soundtracks” (the second in particular that is a reference to M.Hadjidakis)?
To finish, we ought to applaud the fullness of the whole production, from the grafic to the printing part. Even the bilingual notes about works and performers are very nice, essential, enlightening. In a few words, this is one of the most delightful records of this year, the feeling coming from the whole of the art involved.

Kornilios Diamantopoulos, Jazz & Tzaz (No. 139, October 2004)