Performer: Eliot Fisk
Audio CD (September 14, 1993)
SPARS Code: A-D
Number of Discs: 1
Format: FLAC (tracks)
Label: Music Masters Classics
Size: 239 MB
1. Eliot Fisk – El colibrí
2. Eliot Fisk – Danza paraguaya
3. Eliot Fisk – Aire de Zamba
4. Eliot Fisk – Maxixe
5. Eliot Fisk – Seis por derecha
6. Eliot Fisk – Angostura
7. Eliot Fisk – Carora
8. Eliot Fisk – El nino
9. Eliot Fisk – El marabino – El totuma de Guarenas
Vicente Emilio Sojo
10. Eliot Fisk – Aguinaldo
11. Eliot Fisk – Mi Teresa – Estrella del mar – Mi Teresa
Anonymous, Arr.Alirio Diaz
12. Eliot Fisk – Merengue
13. Eliot Fisk – Tema, 20 variaciones y fuga sobre Ia folias de Ia España
Eliot Fisk at his best
This collection is among our Fisk favorites. He seems to excel in certain musical genres, and Latin American music is one of them. It does not pay to approach his work with ears pre-programmed for the sounds of your other favorite guitar recording artists. This particular album shows Fisk’s true temper and ability, and the recording quality is fine.
This is the man who won the 1980 International Guitar Competition. As the last pupil of the great Segovia, and a most energetic teacher and proponent of music studies, Fisk deserves more kudos than are granted by other reviewers. We find that many on Amazon are simply complaining about recording quality, and unfortunately this is true in some instances. We would very much like if Fisk would make a second full recording of Segovia’s CANCIONES POPULARES with a better label, because the 1996 MusicMasters release was rather poor quality. Fisk deserves better technical support than that.
Moreover, the unappreciative, snotty evaluations in published musical review media are unmitigated rejections of this very well rounded musician’s interpretive and performance abilities. This is a fault among those who cannot themselves play or paint or write the very matter they are paid to review. We would say that they are listening with ears that have been on autopilot since Segovia and Yepes left us. Fisk is the sole owner of all production rights to Segovia’s music, granted him by the Great One’s widow. We are left to guess that this created animosity amongst the older generations of reviewers who thought that their personal favorites were more deserving because they followed an older, less individual style. Well, too bad.
IN SUM: Fisk simply has his own interpretive style, as should all performers and scholars of classical music. His delivery tends to be more energetic and quick-paced than most. Don’t be looking for “romantic”, or “stately” with Fisks’s recordings – instead, open your ears to a strikingly individual tone in classical guitar playing. He has maintained his independence of interpretation and style throughout his entire recording career. We are among his ardent followers.