The Names of the Snow

«As it stands it is a two-movement work beginning with an Allegro. Borislova has chosen to find an unusual chord around frets 5/8 involving various clashing open strings and then moving the shape around so that the open strings sound different in their new chord. Elsewhere however in the movement a similar situation occurs, for example at bar 6, with a triad, at bars 8 and 9 with a very unusually voiced six-string chord and numerous places thereafter; A Meno mosso heralds in a mournful melody over open string basses, which then changes tack once again with a new idea that leads into a Lento mesto of strummed triads before a misterioso coda utilising the new for a round glass to make soft pressure on the strings with the use of vibrato. This dies away with the glass making a glissando from fret 2 to approximately the 12th fret. The second and final section begins with a relatively normally harmonised tremolo section before at bar 23 one inserts a pencil under the 3rd string around fret 16 whilst the glass bottle makes more glissandi effects. An Improvvisando section encourages the player to beat on the strings near the bridge with the pencil still in place. A number of new effects involving the pencil and the a number of tambora effects take us a few bars further on until the pencil is dispensed with at bar 49 and normal service is resumed. Then we are back amongst the heavyweight chords similar to the first movement until Tempo I brings a return to the tremolo idea which continues until the coda where an F# Major arpeggio brings the work to an end. I have no doubt that this publication, which is of the normal high printing standard one associates with this publishing house, will win many friends in the avant-garde camp.» Chris Dumigan (Classical Guitar Magazine)