"Dos Improntus" is a dialogue between a piano and an accordion filled with sensitivity and intuitive playing as two musicians dominant in their own genres, searched for bridges between the classical, the contemporary and the popular.
MEETING BETWEEN RIVERS
Barboza in interview with Pablo Gianera, Perfil - “Oscar was very generous. He showed me what he did in the piano and we directly went to record. As I didn't want to “land the first blow”, I put myself behind the horse and cart, because I knew that it was going to carry me well, and that if we fell, we fell together. By force of intuition I could get an inkling of what was going to happen. I imagined his paths, his silences, his strengths...”
Raúl Barboza in interview with Gabriel Plaza, La Nación - “I always was a finder of new things. I was always open to experiment. It is true that in reading a score I am worse than a boy of 10 years who just began to study but I have a lot of ingenuity. Looking back I see myself trying to find something new in the execution of the instrument… So when Oscar proposed to me this idea to I accepted…”
“I wanted to play with the idea of synthesis, to generate something that I call composition in the moment. Somehow in this disc I tried to make a synthesis in the place of musical collision with Raul. It was there that micro reasons appeared, fragments, melodies, materials that could be developed on one side or another one. The disc has many great little pearls that could be used for a future adventure....I have not met many in the contemporary language, who can read the space and the musical situation as Barboza reads, that can understand tImbrically as he understands, and that can move back to go forward like he does. That is modernism. Barboza is the new thing.” (Edelstein in interview with Gabriel Plaza, La Nación)
Composer Oscar Edelstein’s motivation in asking Raúl Barboza to record with him was part of a desire to create a synthesis of the classical and the popular, and to make an exchange where each could understand something new about the other. It was also for Edelstein an homage to his father who introduced him to Barboza’s music as a child, as well a search for the “revolutionary Barboza.”
In this unique meeting, in February 2006 between composer and pianist, Oscar Edelstein, and accordionist, Raúl Barboza, both musicians poured every drop of their history and experience of their instruments into one extremely focused recording session. The result is quixotic music that weaves like a conversation. The intersection of the skills of these two virtuosic players brought something entirely new to each instrument. Music critic, Federico Monjeau entitled his commentary in the disc notes, "El oido virtuosista" or "Virtuosic Ears" and described how Barboza and Edelstein meet in a strange musical territory where they exchange places as virtuosic player and composer.
La Nación called it “a collision of two musical planets” and in his interview with the paper Edelstein explained, “No matter how strong I am within the field of contemporary music, I have always felt like a popular musician who studied. I always take care to look at music from the point of view of sensitivity and emotion.”
Dos Improntus places the best of the popular and the best of the contemporary classical side by side to create an entirely new sound and texture.
The artwork for the album is from original paintings by famous Argentinean artist, Fermín Eguía, who made the watercolours in response to listening to the music.
RAÚL BARBOZA, born in Buenos Aires, is the son of a chamame artist of Guaraní origins Raúl Barboza is recognized as a chamamé artist of international status. Chamamé is an Argentine folk music (sometimes called the Corrientes’ Polka) and Barboza was one of the first to introduce it to Europe. He is an outstanding player and his recordings have received several awards; Grand prix du disque de l’Académie Charles Cros, four Clefs Evénement Télérama, one Diapason d’Or, and one Choc Le Monde de la Musique. Astor Piazzolla was just one of the many fellow musicians who have acclaimed his playing. He regularly tours in Argentina, Canada, Japan and many European countries. He has recorded over thirty albums. One of his most famous tracks “Tren Espresso” (Express Train) uses all his virtuosity to take the listener into a vivid landscape.
OSCAR EDELSTEIN is an Argentinean contemporary composer of great reputation (winner of the prestigious national Award for Artistic Achievement which is present by unanimous decision of the Argentinean Committee of the National Fund for the Arts to personalities that have contributed their talent to the benefit of the national culture) from the province of Entre Ríos which means “between rivers”, something that is evidenced by the strong presence of the river Paraná in Edelstein’s hometown of the same name. In the context of Edelstein’s work with Barboza these shared connections with a region are an artistic fundamental, especially as in Tupí, Paraná means “like the sea” or “as big as the sea”, and the river eventually reaches the Atlantic after running through Paraguay, Brasil, Uruguay and Argentina which means that like the river the music of this region is touched by many influences and folk traditions where the songs are in Spanish and Guaraní. The Paraná is the eighth longest river in the world and the region called the “Litoral” (Spanish for coastal) has given birth to “música litoraleña” such as chamamé, la polka correntina, Vals Criollo and many others. Therefore however much Edelstein has developed his history and notable reputation as a contemporary composer, it is this backdrop on which he can also count.
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where there is information in German and Spanish.