 Né en 1939, Leo Brouwer est de nos jours le compositeur cubain le plus important. Guitariste, percussionniste, chef d'orchestre, professeur et promoteur culturel, il est l'une des figures musicales les plus influentes d’Amérique latine. Il étudie tout d’abord à la très réputée Juilliard School de New York auprès de pédagogues renommés, Vincent Persichetti et Stefan Wolpe, puis rentre dans son pays natal en 1961 où il s’établit en tant que guitariste professionnel et compositeur. Diffusée dans le monde entier, sa musique est très appréciée et nombre de ses œuvres ont désormais intégré les standards du répertoire guitaristique moderne. C’est donc avec grand plaisir que l’on retrouve ici une belle collection de pièces pour la guitare dans le plus pur style du compositeur, cette fusion unique mêlant influences traditionnelles du folklore cubain et musique avant-gardiste du 20ème siècle. Des œuvres de jeunesse comme les « Vingt études Silencieuses » qui font écho au Mikrokosmos de Bartok et qui sont proposées dans leur version complète, à « Hika » pièce composée à la mémoire de Toru Takemitsu ami proche du compositeur, les pages compilées ici sont incontournables pour aborder Leo Brouwer. La performance de Frédéric Zigante, guitariste franco-italien parmi les plus actifs et prometteurs de sa génération, achève définitivement de convaincre et sert admirablement le génie créatif du compositeur. This recording presents some of the most significant early pieces by the Cuban composer Leo Brouwer (b.1939); it also includes other works, such as Hika from 1994 and the third and fourth series of his Estudios sencillos (1981), which show clear similarities with the composer's early style. First to be composed of the works here is a Danza caracteristica from 1956. A popular song melody forms the basis for an Afro-Cuban flavoured fantasy. The Fugue No.1 dates from the following year, when Brouwer was still a teenager: having outlined a theme of Baroque proportions he takes a fairly free attitude to its contrapuntal elaboration, anticipating the concise play of fantasy in the Tres Apuntes of 1959. Having soon after moved to the US, Brouwer composed the first two books of the Estudios sencillos out of financial necessity, but they have proved among his most enduring and successful works, drawing energy not only from his Cuban heritage but the didactic economy of the Mikrokosmos by Bartók. Almost all of the third and fourth books from the series date from 1981; although Brouwer had both moved back to Cuba by then as well as moved on in his own style towards a more neo-romantic language, he rediscovered the lively economy of thought which runs through the earlier studies, combining it with both neoclassical harmonies and even chance procedures to produce among the most significant collections of guitar studies from the second half of the last century. ‘These short pieces reflect all of Brouwer’s creative genius,’ says Frédéric Zigante, ‘and I have always been fond of them, first as a young student of guitar and later as a guitar teacher. To me, they are an ideal method for weaning young guitarists from the didactic repertory of the 19th century.’ The Frenchborn guitarist bases his career in northern Italy, but he has performed and recorded worldwide, as well as editing more than 40 volumes of guitar music for publishers such as Ricordi and Max Eschig. This new album marks his Brilliant Classics debut.
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