I have attended with great interest the wonderful performances by the Trio Chitarristico Italiano and I've been enormously impressed by them. Three great artists have come to me with unbounded enthusiasm and I'm very excited to have heard their playing.

(interview to Guitar Media Collections)

Rome, March 2009, Ennio Morricone



The three young players of the “Trio Chitarristico Italiano” are refined and tasteful musicians. I heard them recently and they left an extraordinary mark on me.

They are certainly a delightful surprise to the musical world and I am sure that the music critics will welcome them without hesitation. The more they will be heard, the more success they'll have.

So wishes them  Andrès Segovia

Madrid, 24 May 1973


Madrid, 24 de Mayo 1973

El “Trio Chitarristico Italiano” està compuesto por tres jòvenes artistas de ese instrumento con capacidad musical, buen gusto y cultura general. Los he oido no hace mucho y he sacado una impresiòn muy optimista acerca del provenir de su conjunto.

Como se trata de una forma nueva de expresiòn artistica, sorprenderà muy agradablemente al pùblico filarmonico y estoy casi seguo de quel los criticos no frunciràn el ceño.

Cuanto màs se hagan oir mas èxito tendràn.

Asì lo desea,

Andrés Segovia



Among the various chamber ensembles, the guitar trio is without question one of the most ingenious and unusual. It's not the mere sum of its parts, but rather it's a completely new instrument, with a character and a presence entirely peculiar to it. The magic of the guitar, that marvellous timbre, is enhanced beyond compare. And the Trio Chitarristico Italiano is peerless:  Alfonso Borghese, Roberto Frosali and Vincenzo Saldarelli are superb players and their performances display incomparable musicality. To them I extend my admiration and gratitude

Rome, 28 April 1977, Goffredo Petrassi



Decade of Madness

"....Cortot, Boulanger, Casals, Piatigorsky, Heifetz, Menuhin, Benedetti Michelangeli and at the Florence School with the Italian Quartet. It's from such a background that the Trio Chitarristico Italiano has emerged: a formation that is matchless in every sense and for many different reasons: impeccable ensemble ['ensemble' qui vuol dire: suonare insieme. Quindi 'impeccable ensemble' vuol dire, 'suonano con precisione d'insieme'], technical prowess, musicianship of the highest calibre and a search for beauty of sound and of music-making that is so pure and intense as to be sometimes even too much. This group (Alfonso Borghese, Roberto Frosali, Vincenzo Saldarelli) is capable of transporting you up in mid-air when playing repertoire that would normally be taken to be an entirely routine affair (the early nineteenth century music of Gragnani, Legnani and so on). That is to say, they can inject music and the unexpected in places where, to be quite frank, there is neither music nor the unexpected. This is possible when there is not just a bunch of gifted individuals, but rather where a school, a way of thinking, a civilised way of thinking about music has developed; where there is, ultimately, a broadly based

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