There was a sense of living on the edge in the outer movements of the concerto, played with impressive energy by the virtuosic PercaDu musicians...

At times the entire orchestra played second fiddle, overshadowed by the fiery percussion.

"...I found myself overwhelmed by PercaDu. The duo performed a mixed program that combined musical virtuosity and showmanship. Gyro, a composition for two drum kits by performer Tomer Yariv, the last piece before two encores, received a standing ovation led by the members of the other percussion groups in the audience!"

"Masters of percussion... They are true with strong pulse and backbone, high level professionals with creative thinking. Like many contemporary music chamber ensembles PercaDu can be proud of a wide list of pieces, which are written exactly for them, for various combinations of percussion instruments. The performance of PercaDu has become an unforgettable adventure"

"...when PercaDu started their performance, time stopped. Taken aback by the huge amount of instruments on stage some people wondered nevertheless: "can they do anything to surprise us?" Soon such attitudes were transformed into astonishment and even religious ecstasy. Fairly unknown to the Kaunas audience before the show, members of the band left the stage with the crowd cheering for more. They had many reasons to feel they had won the city over.

"Neither genre, nor style does not determine anything. The only concert of academic music at"Kaunas Jazz" made the audience go wild. Each piece was followed by real ovations. Nothing more, nothing less but ovations asking for bis. This time they were used to express gratitude for every single drop of music.

Adi Morag and Tomer Yariv are just percussionists. Eight mallets, two pairs of hands, twenty fingers - and you are their prisoner, dying away in your seat, unable to stop chills running down your spine and your eyes bulging out. If beauty is going to save the world, those two impressive men are going to be one of the first ones to do something about it. One had been given an opportunity to listen to wonderful, genial performers, and I can assure you that one can never get used to genius(just like one can never get used to the ecstasy of love. The adults among us will know what I mean...). Trying to describe or analyze the amazing phenomenon that was happening on the stage would be a sin. To make the reader drool is not my final objective. All that's been written about PercaDu on the internet site of Kaunas Jazz is true, but the words are not enough. Word are simply not enough. Those words do not exist in any language. You can describe the instruments, the moods, you can describe the way the musicians were changing places and running around the same marimba while playing Rimsky- Korsakov's 'Flight of the Bumblebee' for bis. I have nothing else to say. Language is powerless. Ladies and gentlemen, please memorize: PercaDu, Adi Morag and Tomer Yariv. Two more phenomenal Israelis in the galaxy of Jewish geniuses. For a concert like this one can pay a fortune. Even more: one can give away a few years of your life"

"...Their arrangement of J.S Bach Prelude in a-minor demonstrates the duo's musical sensitivity: the manifold voices of Bach sound so transparent and so dreamlike, that one might think this was the ideal setting for Bach's music… An amazing percussion duo both in the virtuoso control of each player and in their perfect synchronization… a fascinating dialog building up to ecstasy..."

"Tomer Yariv and Adi Morag are two extremely talented musicians with a good musical education and incessant creative searches, who have managed to draw the attention of both of ordinary listeners and juries of professional and prestigious international competitions. The PercaDu musicians are called magicians, geniuses of percussion instruments and these are not lies. In May last year the duo performed at the Kaunas Jazz Festival, but thanks to public cheers, this May they gave concerts in all the three Baltic States, joining in one tour Jazzkar festival in Tallinn (Estonia), Kaunas Jazz Festival, performing in Vilnius (Lithuania) and the 5^th Introvert Music Festival in Riga.

Both attractive musicians are graduates of the Copenhagen Music Academy. They are masters of percussion, who divide their creativity and art between their homeland Israel and concert tours in the USA, Europe and Far East. Also during the concerts in Riga they mingled Jewish, Arab, Japanese and African rhythms. This cocktail of rhythms in a dynamic performance of musicians was a twister of kaleidoscopic impressions and conceptions, which like Borhess' alef discovers something absolute.

This time absolute rhythm as an initial language of the world, which appeals not through mind, but through other senses, almost on the level of instincts. It penetrates so deep, that it is not important whether this piece is composed by Danish, Jewish or Japanese composer. With Australian wind-instrument dijaridu added, the world becomes united in the PercaDu performance.

One of the most pleasant and musical percussion instruments is marimba and vibraphone. The soft timbre with the sound expanded in the space is as dulled, but at the same time clear bell without a metallic shrill. Pieces for marimba and percussions - this is the name of the first PercaDu disk issued 5 years ago.

Only duo's virtuosity and dynamic performing manner certifies their 10 years long experience on the stage, otherwise musicians look boyish, untroubled and ready to perform in front of screaming teenagers, as well as in front of solid audience or "starched" and spruced up public. They are true with strong pulse and backbone, high level professionals with creative thinking. Like many contemporary music chamber ensembles PercaDu can be proud of a wide list of pieces, which are written exactly for them, for various combinations of percussion instruments. During their career musicians themselves have tirelessly arranged classics - Bach, Russian classics, Bartok.

During the concert at the end of each piece, I found myself as if waking up from a deep contemplation or dream. Instruments of rhythm create a feeling of a flight and this is not only the condition of trance which was the aim of the participants of ancient rituals. Rhythm puts in order and shows the most important things to anyone who is ready to open to it not only at its presence, but also breathing simultaneously with musicians. By the way, both percussionists at the end of first part used one of the best rhythm exercises, turning public applause into interactive and united performance. Hands are also an instrument, but this is forgotten very often or considered as inherent exclusively in hot tempered flamenco dances.

The essence of the introvert music is to appeal from the inside, to urge for thinking, purification, to put in order and to let start from the beginning, in order to keep up with the dynamic development of our era, but at the same time not to hurt those, whose fine souls are gasping for breath in standard daily life, routine without changes. Intensity cannot be evaded. But rhythm has to be changed from time to time. There should be a pause made or other rhythm taken. That would be great if we would be able to tune our inner and outer rhythms as PercaDu does in their performance."

"The audience entering the YMCA concert hall was met by a stage crowded with all manner of percussion instruments, some more familiar than others. The program opened with Danish composer Anders Koppel's (b.1950)"Toccata for Marimba and Vibraphone".Its up-front fanfare bursting forth with a rush of intensity, Koppel's work leads into a number of different sections and moods-a tango and a waltz, a fugue in 7/8 time, dramatic and humorous moments, sentimental and dreamy moments. A work of virtuosity and temperament, it certainly had the audience sitting up in their seats, excited and ready for more!

The duo performed two keyboard pieces of J.S.Bach (1685-1750)- Prelude in C sharp major from Book I of the Well-Tempered Clavier and Prelude in A minor From Bach's English Suite no. 2. In the former, Yariv and Morag build up the tension created by the perpetuum mobile process with lightness, agility and purposeful energy, leading to the prelude's climax and end. The A minor Prelude, on the other hand, falls into sections, with the artists flexing tempi slightly and contrasting denser sections with sensitive, sotto voce playing.

Bela Bartok's (1881-1945)"Romanian Folk Dances"(1915) are seven pieces based on dances recorded from simple folk on Bartok's pioneering ethno-musicological trips taken from 1910 to 1914. Though Bartok would have heard these dances played on fiddle, shepherd's pipe or bagpipes, he penned them for piano, later arranging them for chamber orchestra. The arrangements PercaDu played of three of them follow a general trend to arrange them for various instrumental combinations. Bringing out the delicacy of melodic lines and folk modes, Morag and Yariv choose gentle, sparkly textures to sketch the plaintive tunes. Especially effective was their use of the"hang", an idiophonic instrument made of two curved steel sheets, the upper surface having a number of different pitch areas, and usually played with the hands and fingers, producing magical bell-like- or even harp-like sounds.

Australian composer Nigel Westlake(b. 1958) composed his"Omphalo Centric Lecture" for percussion quartet in 1984. It was inspired by a painting of the same name by Paul Klee in 1939, in which a figure (possibly a woman) represents Klee's quest to look into the mystery at the centre of the universe, into what lies beyond. The PercaDu duo has arranged Westlake's work for two players, receiving Westlake's approval and enthusiasm for their good taste and understanding. The musical motifs in this piece are not Australian but African, the work including intense sections of driving rhythms, chromaticism and an almost visual sense of measureless African landscapes that ends up disappearing into the distance.

Tomer Yariv created the delightful arrangement of Hungarian composer Franz Liszt's (1811-1886) piano piece Liebestraum (Dream of Love) no. 3 that we heard. Yariv and Morag gave it a sensitive and sensuous reading, their playing lush and warm, their glittering filigree runs punctuating phrases, winning the audience over with the delicacy of melodiousness and understatement..

Adi Morag's"Kol Kadum" (Ancient Voice) was written to be performed at the 2009 Bible Festival in the Beit Govrin caves. Opening with a strong, uncompromising percussive section, the work becomes a kaleidoscope of sounds, textures and associations using Jewish- and Arab scales, with a smattering of modern Israeli oriental music here and there. Exotic at times, mellifluous and caressing at others, masculine and powerful at yet others,"Kol Kadum" reveals the rich and varied traditions of this part of the world. The score calls for the artists to make use of the many different instruments surrounding them; Morag and Yariv never miss a trick.

Providing yet another contrast, Tango no. 3 from Argentinean composer Astor Piazzolla's (1921-1992) Tango Suite, composed in1984/5 for two guitars, with its wealth of inebriating South American dance rhythms alternating with touching, sentimental melodies, is colored with interesting harmonic combinations. The duo illuminates the text with relish, translating the original score's guitar-tapping into foot-tapping and sticks struck together.

The concert ended with Tomer Yariv's"Gyro",this title referring both to the action of a gyroscope and to the flexibility and stability demanded in the performing of martial arts. In the unrelenting intensity of the piece, we witness the artists choreographed into perfect synchronization, musical and visual aspects of the peace creating a fine balance.

Adi Morag and Tomer Yariv breathe a breath of fresh air into the concert hall. Their program is highly polished, communicative and it bristles with interest and variety. The two artists are gregarious, joyful and inspired; their ability to perform by heart, their energy, versatility and sheer virtuosity are breathtaking. PercaDu's deep reading into the style and meaning of each work is matched with true musicianship."