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Interview with the Eos Guitar Quartet


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.

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.

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ISSN: 2792-8349

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International Journal of Music