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07 January 2004

The Guardian / Reviewed by Erica Jeal

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However, the highlights came from a perhaps unexpected source: the young Serbian accordionist Milos Milivojevic. Berio’s Sequenza No 13 – its first UK performance – and Lindberg’s frenzied Jeux D’anches showed him to be a serious and fearless virtuoso. But it had been in Anthony Gilbert’s new Rose Luisante, inspired by a window in Bayeux Cathedral and drawing on the accordion’s associations with French music and the organ, that we had been first introduced to the intensity, color and even sensuality of Milivojevic’s playing. Judging by the speed with which Gilbert bounded on to the platform to shake his hand afterwards, he was a very happy composer.

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