Despite its immense popularity, guitar is an instrument that has shown limitations in some repertoires: for example, there’s no one comparable to Debussy or Stravinsky among composers for classical guitar, and nobody among the greats has written something really fundamental, with the notable exception of Heitor Villalobos or Leo Brouwer.

But it's in the jazz and pop world that guitar has found its full ransom: in particular the electric one - widespread during the second half of Thirties - has opened unexpected tone colours' horizons. Electric guitar merges timbre and harmony, transforms the counterpoint into energy's vectors, renders the colour into rhythm.

Four guitars, as the Tetratkys quartet, multiply these effects in a kind of three-dimensional audio experience, creating an environment in which lines and chords, melody fragments, tonal stains, harmonic tensions, reverberate. Like an abstract painting seen at distance, Tetraktys' universe composes discernible sound images: while in detail, it’s composed by a swarm of fascinating sounds-eruptions, each with its own history and path.

In this dense texture, trying to understand what is written or improvised becomes irrelevant: music sustains itself and freely floats before our eyes like an electric color stain

Stefano Zenni