In"Dos Improntus" it is as if the piano (Oscar Edelstein) and accordion (Raúl Barboza) are in an intuitive dialogue as two musicians dominant in their own very contrasting genres, search for bridges.
Lines and distinctions between the classical, the contemporary, and the popular are taken away.
In February 2006, the two Argentinean musicians, both famous in their respected fields of contemporary and folkloric music met in a recording studio in Buenos Aires to play together.
The idea, motivated by Oscar Edelstein, was that they both looked for common ground between their styles while at the same time breaking the mould of their usual style of playing. With their very different musical histories and styles they came together in the studio for one recording session in order to find new sounds and connections between their instruments.
The album was recorded to two single takes without cuts at Estudios Cosentino, Buenos Aires on 17th February 2006. The artwork for the album was made from the original paintings by the famous Argentinean surrealist-watercolourist, Fermín Eguía, (winner of the Premio Konex, Platinum prize in 2012, and Gran Premio de Honor del Salón Nacional de Pintura, 2011) made in response to listening to the disc.
EDELSTEIN: “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 Raúl. It was there that micro reasons appeared, fragments, melodies, materials that could be developed...| BARBOZA: “I always was a finder of new things. I was always open to experiment [...] So when Oscar proposed to me this idea I accepted…” interview with Gabriel Plaza, La Nación
released March 26, 2016
In an interview Edelstein describes his motivation in asking Barboza to record came from a desire to create a synthesis of the classical and the popular, to make an exchange where each could understand something new about the other. He remembered as a child his father listening to Barboza, so the idea to record was both a kind of homage to his father and a way to find what he calls "the revolutionary Barboza."
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.
“It’s impossible to pigeonhole and classify that which knocks down genres but at the same time contains all within something
new.” EL DIARIO
“The rhythmical, multilayered sound fields develop like waves. Edelstein’s close woven music, continuing the tradition of Varèse, has a force which goes under the skin with great vitality.” BASELLANDSCHAFTLICHE ZEITUNG...more