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SAMBOssa / Duo Giuliani-Free Listening


Emőke Geszti and Daniele Lazzari met in Budapest in 2006. Despite their different origins – she is Hungarian and he is Italian – they share a passion for chamber music. This mutual interest started a professional collaboration and a friendship. They chose the name Giuliani, after Mauro Giuliani a well-known Italian guitarist and composer of the 19th century. The repertoire of the Duo Giuliani includes five hours of music of different styles and periods, but this CD is a very special homage to modern South American music that they deeply love. This kind of music is pervaded by romantic melodies over the dance rhythms, by sense of fun and tragedy, always lived intensely.

The word “SAMBOSSA” comes from the union of “SAMBA” and “BOSSA”. This Bossa Nova is taken from “Musique populaires Brésiliennes” of Celso Machado (b. Ribeirao Preto, 1953). The other pieces  of the Brazilian composer on this CD are: Piazza Vittorio (chôro maxixe) – a market place in Rome; Paçoca (chôro) – paçoca is a staple of the Brazilian diet based on a paste of yuca flour mixed with other sweet or savory ingredients; Algodão Doce (samba) – cotton candy; Pé de Moleque (samba) – child’s feet, a Brazilian sweet made with peanuts and sugar.

Jorge Cardoso (b. Posadas – Argentine, 1949) is the author of the “Milonga” for solo guitar. It is taken from the “24 Piezas Sudamericanas” for solo guitar. This is a very characteristic Argentinean dance that was the mother of the early tango, which had the same rhythm although slightly quicker.

The two pieces of Ástor Piazzolla (Mar del Plata, 1921 – Buenos Aires, 1992) belong to his “Histoire du Tango” that ideally draws the evolution of the Argentinean Tango. “Bordel 1900” remembers the origin of the tango which was born in Buenos Aires in 1882. At that time it was first played on the guitar and flute. The music is full of grace and liveliness and describes a scene of a bordello. “Café 1930” is another age of the tango. The people don’t dance it but prefer listen to the music, which is more romantic and melancholic.

Francis Kleynjans (b. Paris, 1951) produced more than 600 pieces for guitar: solos, duets, trios, quartets, concertos as well as film music. He was very stimulated by the South American music and wrote many pieces in this style. The “Deux Arias”, according with the title, are genuinely lyrical. They seem to be inspired by the baroque music introducing, at the same time, modern harmonies.

Palermo”, the second movement of the “Suite Buenos Aires” of Máximo Diego Pujol (b. Buenos Aires, 1957), reflects the influence of Ástor Piazzolla using, similarly, the tango as a basic style.



Digital: Spotify, iTunes, Deezer, Amazon, Google Play, etc.
Physical: CD / super jewel case / 8 pages booklet
Artist: Daniele Lazzari, classical guitar
Label: Da Vinci Classics


CD price: 16 € – worldwide shipping, priority mail included

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Track List – Total Time: 79’28”

Heitor Villa-Lobos (1887 – 1959)
[1-5] Cinq Préludes (1940) 21’46”

Federico Moreno Torroba (1891 – 1982)
[6-8] Sonatina (1924) 13’48”

Agustín Barrios (1885 – 1944)
[9-11] La Catedral (1921) 8’26”
[12] Vals en Sol (1923) 4’23”

Manuel María Ponce (1882 – 1948)
[13-34] Variations sur “Folia de España” et Fugue (1929) 31’05”


The period between 1920 and 1940 was particularly important for the guitar repertoire. Composers were interested in timbre and expressive possibilities of the guitar. Some of them absolutely did not know the guitar technique and the right way of writing for this particular instrument. These noble minds created the base of the modern repertoire and technique of classical guitar.

Heitor Villa-Lobos (Rio de Janeiro, 1887 – 1959) was a very innovative and prolific composer. He is considered the most important exponent of Brazilian musical nationalism. The Cinq Préludes (1940) are one of the masterwork for solo guitar of the composer. They have an impressionistic language: Villa-Lobos uses the guitar not just as a lyrical instrument, but also as a dramatic one indeed. They are dedicated to his wife Mindinha and are known with their programmatic subtitles:

1. Lyric melody. Homage to the Brazilian sertanejo – 2. Capadocia and capoeira melody. Homage to the Carioca hustler – 3. Homage to Bach – 4. Homage to the Brazilian Indian – 5. Homage to social life. To the young teenagers who frequent Rio’s concerts and theaters.

Federico Moreno Torroba (Madrid, 1891 – 1982), zarzuela (the Spanish light Opera) and symphonic composer, was influenced by the Russian music of Rimsky-Korsakov, Borodin and Mussorgsky, by the impressionism of Debussy and Ravel and by Igor Stravinsky. Torroba was the first composer, at the beginning of 20th century, who answered with enthusiasm the request of Spanish guitarist and friend Andrés Segovia to create a new repertoire for classical guitar.

In the Sonatina (1924), the folklore and the orchestral technique, typical of the Torroba style, are evident and admirably brought on the six guitar strings. The rhythmic vivacity typical of popular music combined with the rare, almost ethereal delicacy of the second movement of the composition, have made it as one of the most successful and loved works by the Madrid composer.

Agustín Barrios (San Juan Bautista de las Misiones, 1885 – San Salvador, 1944), Paraguayan, played and wrote only for the guitar.

He had as example the great European baroque and romantic masters but also established a strong link with the Latin American culture, producing music of various styles, always keeping great and original inspiration.

The legend says that La Catedral (1921) was inspired by the visit in the Cathedral of San José in Uruguay where an organist was playing Bach. The Prelude Saudade was added later in 1938. This piece, full of symbolism, ideally describes the various levels of a cathedral and ideally, the passage from the celestial to the terrestrial. The Vals en Sol (1923), full of grace and rhythmically intense, is one of the best examples of the reference to European romantic music in his production. The elegance of the phrasing, but also the idiomatic use of the instrument such as the campanella effect of the central section, show both the perfect compositional technique and the deep knowledge of the expressive peculiarities of the guitar.

Manuel María Ponce (Fresnillo, 1882 – Ciudad de México, 1948) today is considered one of the greatest Mexican composers. Bound by a close friendship with Andrés Segovia, he composed numerous guitar works, including six Sonatas, 24 Preludes and the Concierto del Sur for guitar and orchestra which have become fundamental parts of the modern repertoire of classical guitar.

During his travel in Paris in the 1920s, where he studied composition with Paul Dukas, he started to compose with a polyphonic and impressionistic style using concise musical forms.

This is the case of the Variations sur “Folia de España” et Fugue (1929) which represents one of the guitar masterpieces of the 20th century. The twenty variations on the Folia theme (one of the most exploited theme in history of music) affectively use all the expressive and polyphonic possibilities of the guitar known until then, although in a completely revisited and modern way. The twenty-first variation uses the melodic line of the theme and is rightly considered separate for its proportions of a musical form itself. It is a three-part Fugue of austere character and has an incisive conclusion which magnificently seals the monumental cycle.

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