In 2001, after many years of no contact, Eduardo and I met by chance in Barcelona. On our subsequent meetings, Eduardo introduced me to much of his music, which was unknown to me at that time. From then on, I gradually incorporated his compositions into my concerts. The enthusiasm with which his music was received in many different countries, encouraged me to take on the challenge of recording an album dedicated exclusively to his works. In the Summer of 2004, I asked Eduardo: Could you write a “conga” for the guitar? He answered “hmmm…, I don’t know, let me see what I can do.” At Christmas time of that year, I received the greatest of gifts — Angels in The Street (Angeles en La Calle). I would like to thank Eduardo for writing music for me, and especially, for revealing the secrets of his music during our long sessions of work that preceded the recording of this CD. I also want to thank Dean for having made Eduardo's and my dreams a reality. I dedicate this work to my mother, Oremia, and Guantanamo, my city of birth. ILIANA MATOS Madrid - March, 2006 EDUARDO MARTIN'S TEXT - FROM THE LINER NOTES The dream of every composer is to hear his or her work performed and interpreted well, by professionals with sufficient technique, capable of making music with the logic and understanding required. The artist is always accompanied by a muse. Even when he or she interprets the work of another, this creative spirit gives the music life and energy so the listener not only enjoys it, but understands it as well. A musical score needs the appearance of this spirit to awaken it because the notes are asleep on paper and only become music when a true artist interprets it with all the magic needed. Iliana Matos is a true artist, gifted with magnificent technique. She possesses a clear and brilliant tone—while intimate and powerful—always used expressively. Her good sense of rhythm permits her to undertake these works with precision when needed, and at the same time with all the grace and flexibility that each moment of the music requires. As the composer, I feel very fortunate to listen to this album. I feel that in Iliana’s hands, my pieces reach a higher level. The authenticity of her interpretations energizes, renews, and recreates them. The music is enriched, not devaluated. De la Rumba Son… De la Rumba Son is inspired by a variation of the Cuban rumba called guaguancó. Nevertheless, the work is a son. The rumba and son draw strength from their rhythmic basses in very similar ways that some soneros use in their accompaniments. I thought about the “clave del guaguancó” while composing this difficult piece which tests the musical capability and technique of the guitarist. It was commissioned by Gerard Verba for the 2003 4th Concours International de Guitare Ville d’Antony. Preludio, Son y Allegro… Preludio, Son y Allegro has two major influences: on one hand, Cuban popular music and on the other, the work of Bach, whose influence has had a substantial presence in many of my compositions. Specifically, in this work I felt inspired listening to Preludio, Fuga y Allegro for lute, (BWV 998), by this brilliant composer. I dedicated it to a talented popular musician, known as “Guajiro” Miranda. Divertimentos Tropicales… Tropical Diversions is a series of three pieces that integrate characteristic elements of the son, the bolero, the danzón, and the chachachá. These variations of Cuban music offer an enormous rhythmic wealth. Nourished by these resources, a composer has a lot of very rich elements which allow his imagination and creativity to flow freely. Inevitable, Chacumbele y Lobisón… I think that Inevitable, Chacumbele and Lobisón, reflect the optimism and love of life always present in my great friend “Nico” Rojas, to whom they are dedicated with all my affection and respect. Ángeles en La Calle… I have enjoyed unexpected true art, listening to musicians of different backgrounds, styles and cultures, performing in the streets in many parts of the world. Artists who give their heart and soul in every performance, without rigid formalities, nor compromises for whomever is listening—true ‘Angels’ who make their living this way daily, while at the same time, masterfully embellishing life. Inspired by them, I wrote Angels in The Street. This conga was written for Iliana for this recording. In it, the basses of the guitar assume the role of the bass drum, defining the rhythm. The role of the cowbell, so recurrent in the conga, has been resolved with the use of arpeggios. The thematic development of the work happens over these rhythmic basses. With true artistry, Iliana brings these combinations to life. En Cinco Líneas… In Five Lines is a suite I composed for five very dear friends—exceptional people that life always places in our path, and only occasionally do we have the enlightenment that enables us to really get to know them. Anunciación… Announcement is the first of this series. I wrote it for Iliana Matos with complete freedom and great happiness, knowing that she would be able to handle any musical or technical challenge without difficulties. The rhythms and melodic turns transport us quickly to South America, not to a single country of this extensive region, but more to a rich environment of harmonious crossbreeding. Iluminado… Enlightened is a piece with Cuban flavor. Syncopated characteristics prevail in this “son.” The structure is very simple as two parts are repeated as in the majority of the dances of any baroque suite or folk piece that we have heard. I composed it for my great friend José Ignacio López—always touched by inspiration—hence its title. Profecía del Agua y El Viento… Prophecy of The Water and The Wind, related to the blues, is somewhat meditative in spite of its free-style structure. In the first part, the rigorous pulse allows the silent spaces to attain their true expression. The tone is most intense in the measure that starts the piece. I dedicated it to Francisco Gamallo, a special friend who never ceases to challenge my will and stimulate my musical thoughts. La Ausencia… The Absence is a romantic song which is very appropriate for the musical sensibility of Rose Matos, for whom it was composed. It reflects certain harmonic and melodic turns of the bolero, although its pulse is much more flexible. Ilusión y Verdad… Illusion and Truth is related to Afro-Cuban rhythms, fundamentally close to some sounds of batá drums. A touch of “rock” atmosphere is always present. Dedicated to Jorge Luís Zamora, it could not be less than happy and alive in character. Canciónes del Calendario… Songs of The Calendar is a suite inspired by the months of the year. Each one of these twelve pieces has its own character and spirit. Nevertheless, there are similarities among them: the melodic prevalence, the harmonic turns that reaffirm the tonal direction, and the obvious neoromantic impressions, suspended in a world of sound, enriched by different styles. The suite is dedicated to my children Galy and Darío. Son del Barrio… Son del Barrio, dedicated to Luís Zumbado, is a typical son—traditional with its coros, montuno y solos, like the ones played by any Cuban sonero ensemble. The first part is a lot more melodic in traditional instrumental fashion. It then develops variations separated by a first and second theme. It finishes with a characteristic ‘son montuno’. Para Soñar Contigo… To Dream with You is a lullaby that I wrote at the end of 2004, when Catalina D’Onia was about to come into the world. I thought of it as gift for this little girl that a family friend was expecting. I was inspired by the parents and grandparents, though above all, I believe it was our combined emotions, experienced when we learned that she was soon to arrive. It is a simple piece that could easily be sung accompanied by a guitar, but here we present it in a solo instrumental version. GLOSSARY Barrio - neighborhood Batá - a type of African drum Bolero - a Spanish dance Chachachá - a popular Latin American dance similar to the mambo Clave del guaguancó - the rhythm of this Cuban rumba Conga - a popular Cuban dance of African origin Coros - choruses Danzón - a popular Cuban dance derived from the habañera Montuno - the rhythmic, dancing coda of Cuban country songs Rumba - a Cuban dance Son - a popular Cuban dance Sonero - a musician who plays “son” music Recorded & Produced by Dean Kamei in San Francisco, California