Jose Antonio Escobar

Music:

Member Since: 28/01/2008
Band Website: www.joseantonioescobar.cl
Band Members:
Influences: Claudio Arrau, Arturo Benedetti Michelangeli, Martha Argerich, Carlos Kleiber, Gustav Leonhardt, Krystian Zimerman, Ernesto Quezada, Franz Halász, Andrés Segovia, John Williams, David Russell, Hopkinson Smith, Sergio & Odair Assad, Sergio & Eduardo Abreu, Manuel Barrueco, Julian Bream, Paco de Lucia, Tomatito, Robert Fripp, King Crimson, Pink Floyd, Egberto Gismonti, Antonio Carlos Jobim, Chico Buarque, Jimi Hendrix, David Gilmour, Steve Reich, Pat Matheny, Miles Davis, John McLaughlin, Mahavishnu Orchestra, Jordi Savall, Ensemble Organum, Luis Alberto Spinetta, Astor Piazzolla, etc.
Sounds Like:"... I rarely have the opportunity to listen to someone so well prepared, whose every note is played with soul, sincerity, love and musical intelligence." (Eliot Fisk)....................................................... ............................................................ ."... a brilliant technique that has always been directed by his musical intellect, as well as his great personality as an interpreter." (Franz Hálasz).................................................... ............................................................ ........"Escobar knows how to transmit to the public the emotion given by his guitar." (El Periódico Mediterráneo, Benicásim - Spain)...................................................... ............................................................ ......."... the sound, the quality of the guitar and his capacity to transmit emotions, all point to him as one of the favorites."(El Periódico Mediterráneo, Benicásim - Spain)...................................................... ............................................................ .. "... from the very beginning he was in command of the situation. He was a winner from the moment he uncovered the guitar..." (Ritmo magazine, Spain)...................................................... ............................................................ ....."Inspired, temperamental, with a powerful, wide sound (almost pianistic), he ruled over the orchestra imposing tempos and character to the speech. His version of the Concierto del Sur was great." (Ritmo magazine, Spain)...................................................... ............................................................ ........"... in Tárrega's works, he showed the caliber of his musicality... he had moments of a really magic communication. These conditions predominate over a good performance, and define a remarkable and imaginative artist, more than simply a good player." (Ritmo magazine, Spain)...................................................... ............................................................ .."Secure, inspired, with a good sound, he knew how to interpret the Aranjuez, communicating with confidence to the orchestra, with no fear and, most importantly, knowing how to maintain with it a smooth dialogue." (Levante, Spain)...................................................... ............................................................ .."Escobar is superb throughout. Clarity, even in the most complex passages of the Martin, is exemplary, his intonation right in the centre of every note, and he moves around the instrument quietly and effortlessly. Rarely do you hear such beauty from the instrument as Escobar produces in the Asencio pieces. If there is any justice in music, this young man is destined for the top. Superb sound quality." (The David’s Corner Review, about his Naxos recording).................................................. ............................................................ ......"José Antonio Escobar's playing displays a confident air with mature phrasing... Escobar gives a satisfyingly involved reading of this work (Bach’ Sonata BWV 1001), the 'Adagio' having an improvised quality about it, the "Siciliano" a more serene atmosphere after the intensity of the 'Fuga' and before the brisk concluding 'Presto'... This (Asencio’s Collectici intim) puts unusual demands on the performer, as a work of this nature requires a more intuitive approach to give it any credibility. Escobar delivers a convincing account of the pieces, the technical difficulties not being apparent." (Andy Daly, about his Naxos recording).................................................. ............................................................ ......"The opening track, the Adagio from Bach's G minor Sonata BWV 1001, gives you an idea of the quality of this young guitarist from Chile. Clarity with warmth are watchwords in present-day Bach (at least on the guitar), and Escobar gives you both in generous measure. In a way, it is a pity that the works are presented in chronological order, because the Bach is so well played that almost anything would sound anticlimactic. But not for nothing did Escobar carry off the Tárrega prize in Benicásim: he can not only adapt easily to the huge gulf between 18th-century German Baroque and 19th-century Spanish Romantic, he can very nearly bring the latter up to the level of the former. Take "Sueño", for instance, a simple and rather charming mazurka; by emphasising its Chopinesque qualities, Escobar forces us to look at it in the context of general European music, and the result is a greater stature. And so it continues. Aguado and Albéniz, a thoughtfully shaded Quatre Pièces Brèves, and finally Asencio's often underrated suite Collectici intim, pinpointing some of the better emotions, like serenity, joy, elation, and the calm pleasure of looking at the flower that Shakespeare called the flower-de-luce. The admirable recording captures some guitar sound of true quality. It is a convincing recording debut by a guitarist who has already proved his ability by winning a number of major competitions. Naxos continues its onward march, in an upward direction." (Colin Cooper in "Classical Guitar Magazine", about his Naxos recording).................................................. ............................................................ ......"Originally written for unaccompanied violin, the Sonata in G minor, BWV 1001, is presented here in a transcription for guitar. The transition from bowed strings to plucked strings may seem rather difficult, however Bach was the first one to attempt and succeed at making this sort of adaptation. This is why José Antonio Escobar performs this piece "with a clear conscience," in the words of John Duarte which appear in the introductory text. His serenity is enhanced with the feeling of a job well done because his style is flawless throughout. The Tárrega pieces take us to a totally different musical universe. The composer's personality is so attractive, and guitarists owe him so much, that we gladly forgive some of his works which excessively reflect the style of the times, being extremely romantic but of less than perfect taste. J. A. Escobar, first prize at the International Tárrega Competition in Benicasim, 2000, could not leave this composer out in this case. His choice of five brief pieces is quite appropriate, except for Rosita, where the cumulative glissandi are deplorable: we must recognize that Escobar plays these with a lightness that resembles humor and were it not for his charm, the piece could become unbearable. By Dionisio Aguado, guitarists play almost nothing but his Etudes. This Rondo II in A Minor, full of dynamism, which perfectly highlights the value of this instrument, will be a welcome discovery for some because Escobar presents it enthusiastically. The transcription of Mallorca by Albéniz is a success and the interpretation is exemplary: excellence in the legato imbues the song with all its lyricism, relief perfection, poetic atmosphere, and delicate subtleties. With a more elevated and rhythmic style, we find the same qualities in Torre Bermeja, to which we must add the perfect technical ease of the young Chilean soloist. We know that Segovia paid little attention to the Quatre Pièces Breves by Frank Martin, who dedicated them to him. The composer was rewarded belatedly but abundantly by other interpreters and audiences, which shows that the public does not systematically close itself to this language - what it actually rejects in certain contemporary pieces is much more their emptiness than their modernity. Even though Vicente Asencio is Valencian, his music evokes the air of popular Catalan songs. Both melodic phrasing and harmonies often remind us of Federico Mompou, particularly La Serenor, first movement of the Collectici íntim, and Falla would not negate certain accents found in La Joia or La Gaubança. The titles clearly point to the composer's intention: to write music that is focused inward, musich that strives to express the most delicate mood subtleties and rejects simplistic effects. The mastery, intelligence, and sound of José Antonio Escobar on such diverse pieces undoubtedly position him among the excellent guitar interpreters of our times." ("Les Cahiers de la Guitare" magazine, France.).................................................... ............................................................ ....Chilean guitarist Jose Antonio Escobar has an impressive record on the international competition scene. Among several awards is a first prize at the 2000 Tarrega competition in Spain. This recording, part of Naxos's Laureate Series, is a direct result of the Tarrega victory. It is sometimes hard to know how to approach these laureate discs. On the one hand, they represent a great way to hear the best and brightest up-and-coming performers. (And they do sound great--Naxos's production continues to be top-notch.) But on the other hand, the programs are often standard competition fare and the playing often has that ultra-polished, middle-of-the-road quality that these events seem to breed. It seems that one needs to search a little harder on these releases to find what it is that distinguishes these players artistically from the other technically brilliant players on the international circuit. So beyond the sterling technique and sound musicianship that one would expect from such a laureate, what does Escobar's playing have to distinguish it? Two traits are immediately apparent. First, his tone is outstanding. It does not vary widely, but in terms of depth, clarity, and warmth, this is a model guitar sound. At several points in listening to this I was reminded of David Russell--the consistent beauty of his sound. The second distinguishing trait--much more general but at the same time more compelling--is the interpretive refinement. Every moment is guided by a musical intelligence and sensitivity that is rare. The result is music-making that does not always draw attention to itself, but proceeds with remarkable focus, direction, and purpose. This intelligence is felt particularly in the weightier works here; the Martin is given an eloquent, touching reading, the Bach Sonata is commandingly shaped, and Aguado's exciting Rondo is given a performance that brings out both its virtuosity and architecture. Escobar is also at home in the more solidly Iberian works by Tarrega, Albeniz, and Asencio, bringing out not only their pervasive melancholy, but also a refreshing playfulness. (American Record Guide by Steven Rings)...................................................... ............................................................ ..A Master of Soft Notes Masters Class Concert by Guitarist José Antonio Escobar José Antonio Escobar, the 30-year-old Chilean guitar virtuoso, bade farewell to his teacher, Franz Halasz, from the Masters Class Podium of the Augsburger Musikhochschule. Escobar studied in the Masters Class for two years and was also employed as an assistant to his instructor, Prof. Franz Halasz. In March he will become a professor at the Universidad Austral de Chile, Valdivia. During the first half of his program, with works by Isaac Albéniz and Antonio José, the winner of numerous international competitions proved that he is among the most talented classical guitarists of his generation. His performance demonstrated concentration and technical mastery from the very first note. Thus, his interpretation of the finale from Antonio José’s Sonata completely and fully realized the “Allegro con brio”. Still, the simplicity and intellectualism of his virtuosity ensured that Escobar’s playing was anything but cliché, even for Spanish classics like Albéniz’s “Sevilla”. But above all the Chilean proved to be a master of soft notes. His musical sensitivity and the utterly contemplative quality of his playing converged in the more tranquil movements such as Albéniz’s “Mallorca” and José Antonio’s “Pavana Triste”. Cuban Bells Compositions by Leo Brouwer (1939 - ), the Cuban guitar virtuoso, dominated the second half of the concert. Brouwer’s classic modern musical painting in “Paisaje cubano con Campanas” seems perfectly suited to Escobar. With his perfect dynamics, the guitarist conjured in the inner eye of the listener the picture of a lifeless Cuban landscape shimmering in the noonday heat, with the sound of a village bell floating above it. The next piece led the artist to his native soil. Escobar interpreted three pieces by his countryman Juan Sánchez, and thrilled the audience with spirited and melancholy music from Chile. Beethoven and Bolero The concert ended with Brouwer’s Sonata. Traditional forms like the fandango, bolero, and saraband were filled with new sounds, as well as familiar sounds like those from Beethoven’s Sixth Symphony. Escobar’s intellectual and musical penetration of the challenging piece was captivating, exciting curiosity about Leo Brouwer, the composer, who is largely unknown to the average audience member in Germany. The soloist took his leave amidst deserved and enthusiastic applause. One consolation for guitar enthusiasts in Germany: Escobar has already recorded a number of CDs for the Naxos label. (Augsburger Allgemeine, Thursday)
Record Label: Naxos, RTVE & Indie
Type of Label: Indie