Swedish Debut

"An altogether excellent evening of guitar music was offered at… It was Max Gossell and Håkan Frennesson who appeared with a programme which was unique in all.htmlects.
    What distinguishes these two from so many others in the business, is their great general knowledge of music, with understanding of instrumentation, composing and musical aesthetics.
    Keep your eyes and ears open for this duo. They truly make a ‘project’ that points ‘forward’."

Bo Emanuelson, Nya Wermlandstidningen July ’91

International Debut (Review #1/2—ABC)

Not everything in The Expo´s music programme consists of great well established names. The programme in a pavilion such as the Swedish is shown to be exemplary in its balanced offer. The guitar duo by the name of Progetto Avanti has been founded by two young musicians with an indisputable talent eagerly occupied with broadening the outlook for their speciality, to expand the repertoire and to achieve - with music written for orchestra - the effect of a small auditorium which is the guiding star of chamber music.
    For this purpose they are using transcriptions of wellknown classical pieces written for orchestra as well as the combination orchestra and soloist, by transforming them into music for two guitars. In this case, their adaptation creates amazing effects and sometimes also the presence of a sonorous nostalgia from an orchestral wholeness combined with the intimistic enchantment chamber music offers.
    Among the best that could be experienced in The Santa Isabel church and also with the same programme in the auditorium at the Swedish pavilion, one has to emphasize the imaginative power with which the Swedish musicians have made the reduction of the famous "Concerto in D-major for violin, lute and basso continuo" - a piece that to my knowledge also exists in interpretations for four guitars. The rasguado, the linking of voices and many genius percussive effects are skilfully used by Max Gossell and Håkan Frennesson with the intension to provoke a thick chamber orchestra sound.
    This is displayed in a more complex way in "Eine kleine Nachtmusik" where there is no reference to the guitar in the original score and where the orchestral sound spectrum is more different and colouristic. Nevertheless, Progetto Avanti never let the interest diminish, ever since the Allegro to the Rondo.

Manuel I. Ferrand, ABC, Seville, Spain - Sept. ’92

International Debut (Review #2/2—Diario 16)

The guitar duo with Max Gossell and Håkan Frennesson, two young Scandinavians who have devoted their musical activity to the laborious and difficult task to transcribe and spread the most popular pieces from the classical repertoire in interpretations for two guitars, gave this Sunday a performance at the Swedish pavilion. The work spent by Progetto Avanti on the works they interpreted is conscientious and it seems they very carefully both respect and are faithful the original scores.
    To be able to enjoy their crystal clear and skilfully performed transcriptions, one has to disregard from earlier original references. This is not difficult. The guitar, this magnificent instrument established by Andrés Segovia, is suited perfectly well for transmitting a repertoire noticeably more extensive than the existing at present which the members of the Swedish duo showed so well in their recital. The very best of this performance was the beautiful and very guitaristic interpretation of "Concerto in D-major" by Vivaldi, in which they gave a real exhibition of the richness in sound and timbre of the guitar.

Justo Romero, Diario 16, Seville, Spain - Sept. '92