Only one work found a solution for the chamber-musical employment of the guitar: Alois Bröders Sprünge for cello and guitar. Bröder composed processes between sound fusion and sound contrast, produced a free play with the coexistence of heterogeneous elements. Toward the end of the piece the cellist gives the guitarist his bow. She takes the guitar between the knees and treats it like a cello. With this small theatrical effect becomes descriptive, what takes place in the music: the instruments give up their identity.
Gregor Schmitz-Stevens
(in: Berliner Tagesspiegel, 27.5.1994)