Interview with Enea Leone
Welcome to Neuguitars, Enea. So … a new record with Stradivarius?
Yes, a new disc and a new project related to a baroque era that until now, at least, I had never touched before, discographically.
How did start the idea of this eighteenth-century repertoire and how did you choose the scores of this new album?
I think the choice was collimating with my natural musical and human maturation. I consider the Baroque period one of the most difficult to deal with and only now I felt ready to do so. I’ve decided to listen to a lot of music this time, mostly made by musicians who know their job and after reading books and treaties that talked about it extensively, I decided to deal with it.
I’ve noticed a common trend for you on other guitars players: the use of “vintage” instruments. In your last album you played a 1929 Simplicio ….
Like every instrument has its pros and cons. Maybe in big halls it may have difficulty in sound or volume projection but in front of a microphone, after several trials I and my friend Andrea Dandolo, the artistic director, felt that it could better express what we were going to create.
From the musical point of view how do you interact with the community of people (musicians and not) with whom you collaborate? Do you modify your approach to what you directly or indirectly receive from them?
If I’m the person I’m dealing with, I definitely take into account what he says.
In that case I obviously change my approach to life and music.
If you are listening to a different interpretation of a passage you already played and that you want to play, do you take care of these listings or do you prefer to proceed in total independence?
It depends on who the musician is !!! There are guitarists that I really enjoy, and while playing differently from me, I will always listen to them. Then I’m curious to hear the performers of other instruments and this definitely has influenced my way of playing.
Often it is just like pianists or violinists that I am convinced that I should deal with some songs or modify their performances.
One last question … I have a great appreciation of Andrea Dandolo’s work, how is it to work with this sound engineer?
Working with Andrea is absolutely FANTASTIC! Here we can link to the question you have made before I change my approach from the musical point of view based on the inputs I give the person I work with.
When I registered, I changed a lot of times I did in two songs after I confronted him. We’ve heard some of the original versions of some violin songs he suggested, we talked about it and the piece has changed completely!
What are your next projects? What are you working on?
I’m working on many things as usual, I like to plan at least 1 or 2 years in advance what I will do both about records and concerts.
During the coming months I will have several solo concerts, duo with guitar, bandoneon and strings.
I’ve already been iplanning several CDs and publications without neglecting the didactic aspect I love a lot!
Look .. a few years ago I read a nice book by Bill Milkowski entitled “Rockers, Jazzbos and Visionaries”. Carlos Santana at one point replied that: “Some people have talent, some people have a vision. And vision is more important than talent, obviously.” … after all these years playing to play, always looking for new ideas and New paths … what is your vision?
A vision that changes with the passing of time. A vision that changes because music looks at it, listens and plays in different times of its life, but it is always enthusiastic and rich in energy.