Presentación

Leading to a critical interpretation the yearnings for interpretative or compositional renewal of the artist I have the honor and the pleasure to present, imposes serious technical difficulties that would make my participation, perhaps extremely long and even burdensome, so I will not put my self through that.

However, his music is directly influenced by entirely popular motives, drawn and colored with mastery and without shame, openly, with the lyricism of an excelling modernity invented by him, sounding this way with a bronzed sensibility transferring with magnificence the Andalucian pain and anguish.

Campuzano’s music has, in addition, a passage with black sounds, those uncovered by his fellow countryman the famous composer Don. Manuel de Falla and those mentioned by Garcia Lorca in his theory of the “Duende.”

No one could say that Campuzano’s music is impressionist or expressionist, because if we judged him as such, it would be obvious that we suffer a tremendous aesthetic myopia. He is an artist, an artist in the broadest sense of the word, and consciously creates what emanates from the subconscious.

In his music he gathers and studies all the Andalucian and pours it without false modesty on the musical staff. Without fear, he takes the decisive step towards the cultural roots, to which many have been unable, have not been willing, or have failed to arrive.

As an interpreter he works with perseverance in accordance with the tradition of military objectivity; and this is explained by the uniqueness of the foundations of his upbringing, directed by a military musician, His Father, who inoculates discipline and the rigorous balance of accurate measure.

His background is perfect. He holds the award “End of Career” from the Royal Conservatory of Music in Madrid, as well as the Falla and Turina prizes, and among many others, the World Music Prize “Golden Sagittarius” awarded by the Santa Cecilia Academy of Rome; also national and foreign certificates of honor that due to his modesty are not framed nor do they hung in his house. I would like to mention that in a concert held in Madrid, an old professor told another: “I always said it; he is the best among all and different to all.”

Either way, the greatest treasure of his soul spreads through his music, and in it and with it, he gives us his spiritual life which is not necessarily static and has mystical inclinations, sometimes even with ironic temper tantrums.

We are already craving for the great master Felipe Campuzano to take the stand. Well, take ownership of his place at the Piano, which at the contact of its aristocratic keyboard with his hands, Andalucía fecund, sweeping and Universal runs away!