Acentuado

Description

This is Eduardo Isaac’s first album, it was recorded in Brussels in 1990. Already winner of numerous international competitions, Eduardo Isaac had, by this time, just won first prize in the « Printemps de la guitare » competition held in Belgium. By giving an amazing and masterful performance he had also, without his knowledge, earned his place in GHA’s catalogue beside the Assad Brothers, Roberto Aussel, David Russell, Vladimir Mikulka and the Los Angeles Guitar Quartet…

This first recording, imbued with great novelty, revealed not only the strong personality of an artist but also his deep aesthetic engagement brought at the service of compositions not very well known. Warmly received by the international press in 1990, the « total success » of the album Acentuado is again reaffirmed, thirteen years later, by French magazine GUITARE CLASSIQUE which considers it as a « must » in an ideal classical CD collection.

Guitarist, lutenist and composer, Frederic Hand (1947) was a part of several groups of early music such as The Waverly Consortand Calliope. He was founder and director of the Jazzantiqua band. In 1986, he was appointed guitarist and lutenist at the Metropolitan Opera. Frederic Hand is the author of several film scores (Kramer vs. Kramer), and of a lot of works for guitar. In Trilogy (1976), Hand fuses jazz and classical languages: the second movement is inspired by Bill Evans’ personality, while the third movement appears like a reminiscence of Blue Rondo a la Turk by Dave Brubeck who was his first contact in the jazz universe.

After fully developing as a classical composer, Astor Piazzolla (1921-1992) turns himself definitely to the tango, stimulated in this direction by Nadia Boulanger. He creates a new and revolutionary tango where the classical guitar takes its place : Romantico and Acentuado are two of the five tangos composed specially for the Argentinian soloist Roberto Aussel.

Vicente Asencio (1908-1979) was born in Valencia. At an early age he began studying the piano, the violin and harmony. When he was fifteen he entered the Escuela Municipal de Musica de Barcelona. Under the influence of Joaquin Turina and Manuel de Falla, Asencio discovered the aesthetic canons of the nationalistic movement. He joinde the group of young composers who publised, in 1934, the Primer Manifiesto de la Musica Valenciana. His ballets — La Casada Infiel, La Maja Fingida, Alborada Burlesca… — his Danzas Valencianas for piano as well as his Suite Valenciana for solo guitar reveal his deep fondness for folk music.

The Yugoslav Dusan Bogdanovic (1955) studied composition, orchestration and guitar at the Geneva Conservatory. He is soloist, chamber music player, composer and guitar teacher (San Francisco Conservatory). His music is a synthesized approach to classical, jazz and ethnical music. Bogdanovic writes principally guitar music (sonatas, studies, theme and variations, introduction, passacaille and fugue…), but he composes also chamber music pieces and he composed the ballet-poeme Crow, a work commissioned by the Pacific Dance Company.

Student of Jorge Martinez Zarate and Graciela Pomponio for guitar playing, Walter Heinze (1943) divides his time between concertizing, composing and teaching at the Instituto Superior de Musica de Santa Fe (Argentina). Heinze’ music is deeply imbued by the Argentinian folk music with the typical rhythms of the different regions of Argentina such as the milonga, the chamamé (De aquella luz ), the chacarera (La trunca nueva) and the preludio criollo (Dice la llannura). His Triptico argentino for guitar (published by Lemoine, Paris) is dedicated to Eduardo Isaac.