Also, music of De La Maza, Tansman, and De Visee.
Thibaut Garcia, guitar; Ben Glassberg, Orchestre National du Capitole de
Toulouse. Erato 0190295235710.
By John J. Puccio
It’s a testament, I suppose, to the enduring popularity of
the Concierto de Aranjuez by Spanish composer Joaquin Rodrigo
(1901-1999) that two new recordings of it appeared within days of one another.
This one under review is by the young French classical guitarist Thibaut Garcia
(b. 1994), conductor Ben Glassberg, and the somewhat unwieldy named Orchestre
National du Capitole de Toulouse. Garcia joins a cavalcade of guitarists who
have tackled and recorded the Concierto, and while I enjoyed it, I can’t
say it struck me as any better or any worse than a dozen others I’ve come
across in the past few years. Nevertheless, Garcia’s fans should find the album
a delight.
At the risk of needlessly repeating myself, I’ll begin
with some background on the music. As you probably know, Rodrigo got his
inspiration for the Concierto (1939) from the gardens at Palacio Real de
Aranjuez, the spring resort palace and gardens built by Philip II in the last
half of the 16th century. The music attempts to convey the feeling of another
time and place by summoning the sounds of nature.
Rodrigo described the first movement Allegro con
spirito as "animated by a rhythmic spirit and vigour without either of
the two themes interrupting its relentless pace." Certainly, Garcia
captures the rhythms of the movement well, and the orchestra radiates a
suitable vigor. However, the entire ensemble is enhanced so much by the hall
acoustics, it perhaps lends a bit too much bloom to the proceedings.
The composer said that the second movement "represents
a dialogue between guitar and solo instruments” (cor anglais, bassoon, oboe,
horn, etc.). What he didn’t say was how utterly beautiful it can be, something
audiences have been saying for more than eighty years now. At its heart the
music is a soulful, almost mournful dialogue between the guitar and various
instrumental soloists, particularly the cor anglais. Taken too slowly, the
movement can sound overly sentimental, even drippy, but taken too quickly it
can lose some of its emotional appeal. Garcia approaches it with a delicate yet
somewhat hasty hand. While he is a wonderful guitarist, no doubt, and handles
all of the material easily, I didn’t feel as involved with the music as I have
with some other artists.
The Concierto ends with a perky little closing
tune, one that Rodrigo said "recalls a courtly dance in which the
combination of double and triple time maintains a taut tempo right to the
closing bar." It should be trim and lively, maybe a bit effervescent as
well, and Garcia manages it well, both he and the orchestra fresh and alive.
As nice as Garcia’s recording of the Concierto may
be, I continue to favor the work of Pepe Romero (Philips or Decca), Angel
Romero (Mercury), and Narciso Yepes (HDTT) for their greater spark,
originality, poignancy, and flavor, although I must admit it’s close.
Accompanying the Concierto are three additional
collections of music for guitar by various other composers. The first of these
are four short solo works by Regino Sainz de la Maza (1896-1981), the Spanish composer
and guitarist who, interestingly, first performed Rodrigo’s Concierto.
Following his pieces is a suite for guitar and chamber orchestra by the Polish
composer Alexandre Tansman (1897-1986). And the final tracks are a suite of
tunes by the Seventeenth-century French composer Robert de Visee (c.
1655-1732/33), transcribed for solo guitar by the artist, Thibaut Garcia. Of
these selections, I preferred the Tansman suite most of all and found the de
Visee suite a bit tiresome.
Producers Alain Lanceron, Hughes Deschaux, and Laure
Casenave made the album at Halle aux Grains, Toulouse, France in 2019 and 2020.
The sound is reverberant and the miking fairly close, producing a big, robust,
yet not particularly detailed sound. The sound is, in fact, soft and soothing
but doesns’t exactly glisten with transparency. The guitar is well centered,
looms large, and tends to dominate the orchestra behind it. Overall, the sound
comes across as something of a big clump rather than a collection of individual
instruments meshing together. Still, I’m probably nitpicking. It’s big, warm,
resonant sound and should please most listeners.
JJP
To listen to a brief excerpt from this album, click below:
Thibaut Garcia, guitar; Ben Glassberg, Orchestre National du Capitole de
Toulouse. Erato 0190295235710.
By John J. Puccio
the Concierto de Aranjuez by Spanish composer Joaquin Rodrigo
(1901-1999) that two new recordings of it appeared within days of one another.
This one under review is by the young French classical guitarist Thibaut Garcia
(b. 1994), conductor Ben Glassberg, and the somewhat unwieldy named Orchestre
National du Capitole de Toulouse. Garcia joins a cavalcade of guitarists who
have tackled and recorded the Concierto, and while I enjoyed it, I can’t
say it struck me as any better or any worse than a dozen others I’ve come
across in the past few years. Nevertheless, Garcia’s fans should find the album
a delight.
At the risk of needlessly repeating myself, I’ll begin
with some background on the music. As you probably know, Rodrigo got his
inspiration for the Concierto (1939) from the gardens at Palacio Real de
Aranjuez, the spring resort palace and gardens built by Philip II in the last
half of the 16th century. The music attempts to convey the feeling of another
time and place by summoning the sounds of nature.
Rodrigo described the first movement Allegro con
spirito as "animated by a rhythmic spirit and vigour without either of
the two themes interrupting its relentless pace." Certainly, Garcia
captures the rhythms of the movement well, and the orchestra radiates a
suitable vigor. However, the entire ensemble is enhanced so much by the hall
acoustics, it perhaps lends a bit too much bloom to the proceedings.
The composer said that the second movement "represents
a dialogue between guitar and solo instruments” (cor anglais, bassoon, oboe,
horn, etc.). What he didn’t say was how utterly beautiful it can be, something
audiences have been saying for more than eighty years now. At its heart the
music is a soulful, almost mournful dialogue between the guitar and various
instrumental soloists, particularly the cor anglais. Taken too slowly, the
movement can sound overly sentimental, even drippy, but taken too quickly it
can lose some of its emotional appeal. Garcia approaches it with a delicate yet
somewhat hasty hand. While he is a wonderful guitarist, no doubt, and handles
all of the material easily, I didn’t feel as involved with the music as I have
with some other artists.
tune, one that Rodrigo said "recalls a courtly dance in which the
combination of double and triple time maintains a taut tempo right to the
closing bar." It should be trim and lively, maybe a bit effervescent as
well, and Garcia manages it well, both he and the orchestra fresh and alive.
As nice as Garcia’s recording of the Concierto may
be, I continue to favor the work of Pepe Romero (Philips or Decca), Angel
Romero (Mercury), and Narciso Yepes (HDTT) for their greater spark,
originality, poignancy, and flavor, although I must admit it’s close.
Accompanying the Concierto are three additional
collections of music for guitar by various other composers. The first of these
are four short solo works by Regino Sainz de la Maza (1896-1981), the Spanish composer
and guitarist who, interestingly, first performed Rodrigo’s Concierto.
Following his pieces is a suite for guitar and chamber orchestra by the Polish
composer Alexandre Tansman (1897-1986). And the final tracks are a suite of
tunes by the Seventeenth-century French composer Robert de Visee (c.
1655-1732/33), transcribed for solo guitar by the artist, Thibaut Garcia. Of
these selections, I preferred the Tansman suite most of all and found the de
Visee suite a bit tiresome.
Producers Alain Lanceron, Hughes Deschaux, and Laure
Casenave made the album at Halle aux Grains, Toulouse, France in 2019 and 2020.
The sound is reverberant and the miking fairly close, producing a big, robust,
yet not particularly detailed sound. The sound is, in fact, soft and soothing
but doesns’t exactly glisten with transparency. The guitar is well centered,
looms large, and tends to dominate the orchestra behind it. Overall, the sound
comes across as something of a big clump rather than a collection of individual
instruments meshing together. Still, I’m probably nitpicking. It’s big, warm,
resonant sound and should please most listeners.
JJP
To listen to a brief excerpt from this album, click below:
