Two different personalities on the same instrument, of diverse backgrounds – Mitzlaff is an “authentic” musician, Mira is described as a “Renaissance man” also skilled in architecture and painting – but regrettably, the result of their alliance is rather disappointing. The good quality domestic recording lets us appreciate the occasional distant echo of birdsong in the background as well as the magnificent timbre of the cellos (one of my favourite instruments) – you can almost smell the wood when enjoying those taps, crackles and screeching harmonics. But the interplay doesn’t sound coherent enough to be published, often lacking structure (which, contrarily to what many people think, is needed in “free” music) and more an accumulation of spurts and instantaneous sketches than the fruit of genuine inspiration. There are intriguing segments, especially when a quietly contemplative vein is highlighted, but they’re related to the loveliness of the tone, not to the actual interest elicited by the improvisations. Halfway through we lose focus and perceive the sounds as repetitive, untailored and unable to trace consistency.