Description

Building an Interpretation: “A Methodology of Study for Guitar and other Instruments”

• By Carlos Eugenio Santi

• English Language

• Publication 2017

• 83 pages

Many are the merits of a book like this one. But, to stress what I consider its highlights, I would point out three aspects that make its reading highly recommended, if not indispensable.

1) Cleverly eludes the false dichotomy between interpretation and execution, and doesn’t conceive (as it is usual in music conservatories) them as separated spheres, and much less correlatives. Opposite to the concept that working on an interpretation is a later stage in the process of Internalizing a musical piece, preceded by the mere mechanical execution and devoid of any analytical intention, the author stresses that the interpretation begins at the very moment we choose to play. Or even before, during the widened acquisition of the criteria, which make possible such election. Thus, Interpretative bias is present from the beginning of the process: it is a need and a urgency, and not something that can be left behind.

2) Recognizes and recommends the huge work the musician can do without his instrument. In a line of thought that bonds with Carl Leimier’s “La moderna ejecución pianística” (The supreme Pianistic Execution), emphasizes the importance of an in-depth study of the score, which can be done without the guitar, promoting our imagination, intuition and analytical capacity.

3) And last but not least, this books presents a true system for interpretation, using a clever and didactic analogy with the task of imagining, projecting and building a house. Across the different chapters, insists on this core idea, drawing from it a myriad of sharp observations, conclusions and lessons full of meaning.

Pablo De Giusto, Faculty of Arts National University of Córdoba

About Carlos Eugenio Santi,

He graduated from National University of Rosario in 2001. He completed his studies with violinist Rino D’Angelo. He pursued further studies with teachers: Eduardo Isaac, Álvaro Pierri, Leo Brouwer and Abel Carlevaro, among others. He has received awards at national and inernational competitions: Joaquín Rodrigo contest, Tribute to María Luisa Anido and Festival Fabini. He received a scholarship in Spain (Santiago de Compostela) and Brazil (Festival Campos de Jordão).

He worked as a guitar teacher, performer and jury at different concerts and festivals: Switzerland (International Telecommunication Union, Living waterCycle), France (Cévennes, Gex and Mâcon and Alès Conservatory Festival), Spain (Casa Luthier of Barcelona), EEUU (Modesto Junior College in California), Slovenia (St. Jost Church), Italy (International Aosta Festival at SFOM concervatory), Mexico (Autumn International Classical Guitar Festival at BUAP), Colombia (International Pasto Festival and Ibagué Ibero-American seminar), Brasil (UFRGS International Festival in Porto Alegre), Chile (La Serena University and Technological University of Santiago) and Argentina (Ushuaia International Festival, Roseta del Plata Festival, Andes International Festival, Guitarras del Mundo Festival, etc.) sharing stage and classes with figures such as Eduardo Fernández, Victor Villadangos, Carlos Pérez and Edoardo Catemario.

He performed as soloist alongside the Symphony Orchestra of Tolima’s Conservatory (Colombia), Rosario Provincial Symphony Orchestra, Young Hurlimgham Philharmonic Orchestra (Buenos Aires), Formosa String Orchestra, San Juan Camerata, Cordoba Symphony Orchestra and Nueva Córdoba Camerata, all conducted by great directors such as Juan Carlos Zorzi, Gustavo Plis Steremberg, Hadrian Avila Arzuza and Jhon Alexander Riaño.

He received a Master’s in Twentieth Century Latin American music, graded with distinction by an Austrian and Argentine Jury. He has recorded four CDs and has published three books about musical interpretation. At present he holds a chair in guitar at Universidad Provincial de Córdoba, and is often invited to give Masterclasses in different cities in Argentina and abroad.