As one of the few outstanding formations of their kind (Basler Zeitung), the Eos Guitar Quartet has been casting a spell over their fans for over 25 years. With six CDs, programmes full of variety and too many concerts to count, the four guitarists from Switzerland have won the respect and enthusiasm of critics.
Whether it's classical, jazz, rock, modern avant-garde or flamenco – the Eos Guitar Quartet is comfortable playing in many styles. Even the Spanish audience – with the highest demands when it comes to guitar music – were convinced, thanks to the collaboration with the famous flamenco singer Carmen Linares.
Invitations to international festivals such as Córdoba, the Menuhin Festival in Gstaad, Bari in Italy or to Germany's Ludwigsburg Festival underline the significance of the quartet. Since 2011, the Eos Guitar Quartet have also been working as event organisers themselves (IN GUITAR).
Interview With The Eos Guitar Quartet — International Journal Of Music
Two factors are a considerable part of the enduring success of the Eos Guitar Quartet: their inspiring programme and the equality between the players in the quartet. No-one is just a soloist. Everyone pays attention to the others in a lively exchange when they make music.
Time and again, the Eos guitarists have also worked hard at their desks. Their arrangements broaden the range of music for four guitars with a sense of preciousness and value: Federico Garcia Lorca's Spanish folk melodies and songs, George Bizet's Carmen suite, as well as the guitarists' own compositions and, last but not least, commissioned works. Guitar luminaries such as Leo Brouwer, John McLaughlin, Ralph Towner, Sergio Assad and Roland Dyens – to name but a few – have composed original works for the Eos Guitar Quartet.
Marcel Ege, Martin Pirktl, David Sautter and Michael Winkler got to know each other when they studied together at the Music Academy in Zurich. They founded the quartet in 1985, taking their name from the Greek word for dawn. Master classes with notable artists at home and abroad as well as initial successes with the public and the press made the four of them a close-knit unit. Appearances on radio and television saw their success continue.
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One highlight in the history of the Eos Guitar Quartet was the sold-out performance at the St. Jakobsstadion in Basel on 4 July 1992. Elton John and Eric Clapton desperately needed a support act at the Open Air concert in front of 50, 000 spectators. Eos made the snap decision to travel from Spain, and rocked the 'Joggeli' arena with Luigi Boccherini's 'Fandango'.
At the IN GUITAR Festival 2013 in Winterthur, there was another emotionally charged moment in the history of the quartet. Co-founder Martin Pirktl played with the group for the last time and, for the last piece of the evening, gave up his seat to a new member – the young Argentinian- Julio Azcano.[David:] We are always looking for new music for our ensemble. Over the years, many compositions, sheet music and scores have been accumulated. Some of these compositions had already been published, others were new, and the composers sent them to us with the request to perform them. Since all four of us are very busy as musicians, we often lack time to deal with this material. The city of Zurich has now awarded us a prize that will allow us to take a timeout to devote ourselves to sift through all this material. The aim will be to find the best works to perform in a concert.
[Julio:] I would suggest to young guitarists that, in addition to learning the individual parts of their ensemble repertoire, they learn about different ways of making music together with their peers. The practice of chamber music requires reacting spontaneously to different performance dimensions: to feel and understand what one’s colleagues are playing to communicate with them and the audience through the piece being performed.
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Although classical music performance is recognised as a creative practice, the focus on perfect reproduction of scores does not always lead to musical training skills. Much of the creativity is lost due to this method.
Fortunately, the classical guitar has roots that draw from a myriad of musical styles, and these also open doors to musical aesthetics that broaden the approach to playing music. Therefore, experimentation with repertoire from different styles and periods provides an excellent opportunity to explore other ways of approaching ensemble practice: playing from memory, or improvising, arranging, working with composers, or even composing pieces. This helps expand the repertoire with varied and original contributions, providing a deeper understanding of the interactions proposed by each piece or style and allowing for fluid and meaningful communication when performing the music.The Eos Guitar Quartet, comprised of Michael Winkler, Julio Azcano, Marcel Ege, and David Sautter, has carved a distinctive niche in the realm of chamber music through their diverse repertoire, spanning Spanish, Swiss, and Latin American genres, classical transcriptions, and beyond. In this insightful interview, the quartet reflects on their three-decade journey, citing projects like “El círculo mágico” with Flamencos en route and “A Tribute to Frank Zappa” as notable highlights. Their success, they assert, stems from an unwavering passion for music, a commitment to innovation, and an openness to exploration beyond conventional guitar literature. The quartet emphasizes the significance of perseverance and acknowledges the invaluable energy derived from audience feedback.
A pivotal moment for the ensemble occurred in 1992 when they played Boccherini’s Fandango before an audience of 50, 000 alongside Eric Clapton and Elton John. Marcel Ege recounts the unique experience, detailing the fortuitous circumstances that led to their participation in the event, demonstrating the quartet’s versatility in captivating large audiences with their classical repertoire. The interview then delves into their latest project, “El alma de Paco, ” a tribute to the late Paco de Lucía, featuring compositions from revered artists like Leo Brouwer and John McLaughlin. Marcel Ege discusses the inspiration behind the project and the profound impact of collaborating with composers intimately acquainted with Paco de Lucía.
Quaternaglia Guitar Quartet
The quartet’s collaboration with flamenco singer Carmen Linares on the piece “Aixa, Fátima y Marién” is explored by David Sautter. The composition, inspired by a Spanish folk song collected by Federico García Lorca, is described as a unique fusion of baroque elements and flamenco rhythms. The quartet’s dynamic interplay with Carmen Linares elevates the piece, offering a distinctive dimension to their repertoire. Looking towards the future, the quartet shares their plans, including sifting through accumulated compositions and scores to curate new material for upcoming concerts.
In concluding advice for young guitarists interested in chamber music, Julio Azcano underscores the importance of exploring various musical styles, advocating for a holistic approach that extends beyond perfect score reproduction. He encourages young musicians to engage in spontaneous reactions, communication with peers, and experimentation with different styles and periods. This advice reflects the quartet’s own ethos of pushing boundaries and embracing the richness of diverse musical expressions in the realm of chamber music.
Carmen Linares, Classical Guitar, Classical Guitar Interviews, David Sautter, Eos Guitar Quartet, Flamenco Guitar, Guitar, Guitar Quartet, John McLaughlin, José Antonio Rodríguez, Julio Azcano, Leo Brouwer, Marcel Ege, Michael Winkler, Paco de Lucía, Spanish Guita
Aleph Guitar Quartet
Although classical music performance is recognised as a creative practice, the focus on perfect reproduction of scores does not always lead to musical training skills. Much of the creativity is lost due to this method.
Fortunately, the classical guitar has roots that draw from a myriad of musical styles, and these also open doors to musical aesthetics that broaden the approach to playing music. Therefore, experimentation with repertoire from different styles and periods provides an excellent opportunity to explore other ways of approaching ensemble practice: playing from memory, or improvising, arranging, working with composers, or even composing pieces. This helps expand the repertoire with varied and original contributions, providing a deeper understanding of the interactions proposed by each piece or style and allowing for fluid and meaningful communication when performing the music.The Eos Guitar Quartet, comprised of Michael Winkler, Julio Azcano, Marcel Ege, and David Sautter, has carved a distinctive niche in the realm of chamber music through their diverse repertoire, spanning Spanish, Swiss, and Latin American genres, classical transcriptions, and beyond. In this insightful interview, the quartet reflects on their three-decade journey, citing projects like “El círculo mágico” with Flamencos en route and “A Tribute to Frank Zappa” as notable highlights. Their success, they assert, stems from an unwavering passion for music, a commitment to innovation, and an openness to exploration beyond conventional guitar literature. The quartet emphasizes the significance of perseverance and acknowledges the invaluable energy derived from audience feedback.
A pivotal moment for the ensemble occurred in 1992 when they played Boccherini’s Fandango before an audience of 50, 000 alongside Eric Clapton and Elton John. Marcel Ege recounts the unique experience, detailing the fortuitous circumstances that led to their participation in the event, demonstrating the quartet’s versatility in captivating large audiences with their classical repertoire. The interview then delves into their latest project, “El alma de Paco, ” a tribute to the late Paco de Lucía, featuring compositions from revered artists like Leo Brouwer and John McLaughlin. Marcel Ege discusses the inspiration behind the project and the profound impact of collaborating with composers intimately acquainted with Paco de Lucía.
Quaternaglia Guitar Quartet
The quartet’s collaboration with flamenco singer Carmen Linares on the piece “Aixa, Fátima y Marién” is explored by David Sautter. The composition, inspired by a Spanish folk song collected by Federico García Lorca, is described as a unique fusion of baroque elements and flamenco rhythms. The quartet’s dynamic interplay with Carmen Linares elevates the piece, offering a distinctive dimension to their repertoire. Looking towards the future, the quartet shares their plans, including sifting through accumulated compositions and scores to curate new material for upcoming concerts.
In concluding advice for young guitarists interested in chamber music, Julio Azcano underscores the importance of exploring various musical styles, advocating for a holistic approach that extends beyond perfect score reproduction. He encourages young musicians to engage in spontaneous reactions, communication with peers, and experimentation with different styles and periods. This advice reflects the quartet’s own ethos of pushing boundaries and embracing the richness of diverse musical expressions in the realm of chamber music.
Carmen Linares, Classical Guitar, Classical Guitar Interviews, David Sautter, Eos Guitar Quartet, Flamenco Guitar, Guitar, Guitar Quartet, John McLaughlin, José Antonio Rodríguez, Julio Azcano, Leo Brouwer, Marcel Ege, Michael Winkler, Paco de Lucía, Spanish Guita
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