'... marvellously controlled rhythms, touch and stylistic finess.'
MARTIN JONES plays Spanish piano music -
with BILL NEWMAN
Early in the 1900s, Spanish composers gravitated towards Paris to meet
resident musicians and discover their own personal styles. The previous
keyboard attempts of Manuel de Falla (1876-1946) - 'my youthful inadequacies'-
Allegro de concierto [listen - CD3 track 1,
0:04-1:01], Mazurka, Serenata andaluza, Nocturno,
Vals-capricho, Serenata - were bright, bold melodies with
straightforward accompaniment. Cancion (with Satie's Gymnopédies
at the start) and Danza de gnomos (leanings towards Grieg) eventually
paired with a 1922 chordal arrangement of Canto de los remeros del Volga
(Song of the Volga Boatmen) as Obras desconocidas.
Ricardo Vines inspired the slim, dark-eyed composer to emulate Goya's
colourful dancers. He premièred Aragonesa, Cubana,
Montanesa, Andaluza (from Cuatro pièces espagnoles)
in 1909 and Falla started Nights in the Gardens of Spain. Ten years
on, Artur Rubinstein commissioned Fantasia Baetica (later discarded
from his repertoire), whose vibrancy and flamenco voicings embrace the true
Spanish soul. Two Homenajes marking the passings of Debussy (transcribed
from solo guitar, 1920) and Dukas (1935) close his piano output.
Copyright © 24 September 2000
Bill Newman, Edgware, UK
CD INFORMATION - NIMBUS NI 5619/23
PURCHASE THIS DISC FROM AMAZON
PURCHASE THIS DISC FROM CROTCHET
& Vision home
Lukás Vondrácek >>
||To listen to the aural illustrations in this review,|
you may need to download RealNetworks' realplayer G2.