Eleftheria Kotzia

René Eespere was born in 1953 in Talinn, the capital of Estonia and is currently professor of composition and music theory at the Estonian Academy of Music and Theatre. He has written several concertos for piano, violin, flute and viola as well as vocal-symphonic works and chamber music. This double-cd recording concentrates on his output for classical guitar (it is not stated whether or not that these are his complete guitar compositions), half of the programme being for solo instrument and the rest in various combinations with such as with violin, flute, soprano, vibraphone, one guitar duet and finishing with a concerto.

If this recording is representative of his writing, the musical style of Eespere could best be described as spiritual, reflective, meditative — all of these things and more. It seems intensely ‘personal’ music, at times exceptionally introverted, at other times quite gregarious, but all very effective and affective music.

Nowhere is it stated that Eespere actually plays the guitar, but whether he does or does not these compositions illustrate a fine, sympathetic and extremely skilled writer for the instrument. The solo guitar works of which there are eleven - stand easily alongside the best of contemporary compositions for the guitar. Although there are some beautiful melodic lines scattered throughout this programme, in this format Eespere seems to rely less on memorable melodic invention and more upon rhythmic patterns (and even more upon creating an evocative ambiance).

In the works for guitar and other instruments the guitar is on equal footing with the melody instrument and once again there are some truly outstanding moments. Whether for guitar solo or in ensemble, this is all very listenabie music.

All the guitarists taking part in this project put in superb performances — both musically and technically and it would be unfair to not list their names, so here goes:
Tut Peterson, Heiki Matlik, Esteban Colucci, Donato D’Antonio, Kristo Kao, Vahur Kubja and Eleftheria Kotzia,
the latter name being the soloist in the guitar concerto, which is, for this reviewer. the premium composition on the disc. The two movements take up around 23-minutes-worth of disc space and in this time Eespere creates many varied and stimulating moments. Passages of high drama neatly sit alongside tranquil, contemplative sections, the guitar part being very skilfully interweaved amongst the other instruments.

This is emotionally affecting music — at times quite disturbing, but mostly it is of a pleasurable, satisfying and serene nature, Within this writing one can detect shades of Britten, Rutter, Hovhaness, even Messiaen, but Eespere most definitely has his own ‘voice’ and it is certainly one to seek out.

Steve Marsh - 2014 Classical Guitar Magazine

From personal experience hearing the recordings of the versatile Greek guitarist Eleftheria Kotzia I've always found that her selected recorded programmes are fresh, exhilarating and interesting; in short, they feature much varied material which explores the extremes of emotion. Take on this programme for instance the beautifully crafted Love Waltz, an emotive, tender composition written for the Swedish film ‘Vaxdockan’ in the 1960s by Ulrik Neumann. This follows Miroslave Tadic’s fascinating, highly rhythmic Walk Dance, where the music successfully attempts to emulate the movements of coppersmiths whilst creating their metalwork.

Many more contrasts follow: there are the brightly spirited two famous tangos from Rodriguez and Villoldo (although not credited in the CD sleeve information, I believe these superb arrangements are by UK guitarist Gary Spolding); the lovely flowing and highly tuneful El Negrito and an attractive tremolo work by Lily Afshar. Mingled in between these are stirring, rhythmic works from the Balkans, South America and Spain.

By far the most substantial work here is the title track composed by the Czech composer Sylvie Bodorova. Gypsy Ballad, dedicated to Maria Isabel Siewers, was inspired by the gypsies of Prague. This ten-and-a-half minute virtuoso guitar solo contains a multitude of guitar techniques in a piece with no time signature and explores the many nuances which the guitar is capable of, from delicate and emotional passages through to ones of extreme violence. This is a work which could possibly become a contemporary ‘standard’ if enough exposure is given to it.

Previous recordings by Kotzia have concentrated on one subject theme such as either Greek, South American or Mediterranean music. For this CD she has amalgamated these styles into one programme and has ended up with a very desirable and entertaining disc.

Throughout, Eleftheria Kotzia plays superbly well, her technique and interpretations are first class and it is clear she has spent a great deal of thought with regard to the phrasings and musicality of the compositions. The sound quality is excellent (recording engineer: John Taylor) and the disc comes with highly informative and well-written sleeve notes from Graham Wade.

Recommended.

Steve Marsh - 2014 Classical Guitar Magazine

Its discs like this that remind you just what a magical instrument the classical guitar can be. In this musical portrait of the Mediterranean region, Eleftheria Kotzia's playing is so attractive on every front that your attention doesn't waver for a moment.

The disc opens with Dimitri Fampas's Greek Suite No 1. a curious, hesitant dance in "The Land of the Centaurs"; a tsamikos folk dance of graceful intensity, replete with percussive effects and sul ponticello Fanfares; the gently rippling “Ravines”; and another folk dance, a jolly syrtaki. The writing allows Kotzia to show off her impressive tonal range to its best advantage.

Nikos Mamangakis's haunting Tremolo, recalling both the bouzouki and Tarrega's Recuerdos de la Alhambra, precedes Regino Sainz de la Maza's Zapateado, which to my ears has never sounded so fluent and full of orchestral colour.

Carlo Domeniconi's Krysea Phorminx, written for Kotzia, has depth and mystery, almost making Castelnuovo-Tedesco's Tarantella seem more than usually lightweight were it not for Kotzia's humorous inflections.

Kotzia gets the tempo in Satie's Gnossienne No 1 and the insouciance of Roussel's Segovia just right, while in Evangelos Boudounis's Spring Songs, the melodies of which come from Theodorakis and Nikos Antypas, she brings the rock and blues elements to perfection, even contributing some vocals in the last of the three movements.

Roland Dyens's Villa-Lobos homage “Andantinostalgie” and "Fuoco” from the Libra Sonatine bring a superb disc to a close by neatly tying together the lyrical and the fiery.

William Yoeman - 2007 Classical Guitar Magazine