The Laureate Series by the Naxos label highlights the
talents of young musicians who have achieved success in various competitions
around the world. The guitar is well represented with a number of releases
over the last few years.
José Antonio Escobar was awarded first prize
in the 2000 International Francisco Tárrega Competition.
The music on this disc could be said to fall into two
categories: Iberian and the rest. The music from Spain spans some two
hundred years. In addition there are pieces by J S Bach and Frank Martin.
Though separated by two hundred years Martin took the baroque suite
as a basis for his "Quatre Pièce Brèves".
All the works here have been recorded before, Naxos
already have versions of the Bach and the Asencio as well as most of
the Tárrega and Albéniz. Only the Aguado and the Martin
are new to their lists.
José Antonio Escobar’s playing displays a confident
air with mature phrasing that may, I suggest, owe more than a little
to Julian Bream; in fact it may be more than a coincidence that
a good proportion of the pieces on this disc have been recorded by Bream.
Escobar may well have an admiration for the English guitarist. This
is particularly evident in Albéniz’s "Mallorca" and
the "Rondo No.2 in A minor" of Aguado.
Guitarists have long sought to transcribe Bach’s solo
violin and cello works as alternatives to the more readily adaptable
Suites for lute. The Sonata in G minor, BWV 1001 proves to be very apt
(Segovia recorded the "Fuga" from this Suite early in his
recording career and for many years it was also a favourite in the recitals
of Bream). Escobar gives a satisfyingly involved reading of this work,
the "Adagio" having an improvised quality about it, the "Siciliano"
a more serene atmosphere after the intensity of the "Fuga"
and before the brisk concluding "Presto".
The attractive miniatures of Francisco Tárrega
do not try to compete with,but are more likely to give a little light
relief from the highly charged world of the Bach that precedes them.
Escobar’s stylish playing of the gavota "Maria" and the polka
"Rosita", in particular, put me in mind of the pair of perked,
possibly mischievous, young girls of their titles.
Written in 1933, Frank Martin's "Quatre Pièces
Brèves" must be a contender for the first truly modern work
written for the guitar. Loosely based on Baroque forms the individual
movements, though having an improvised feel, are highly structured.
To those not familiar with it this work can be very rewarding with repeated
listening
The 20th century has given us many popular
Spanish composers for the guitar, Joaquín Turina (1882-1949),
Joaquín Rodrigo (1902-1999) and Fredrico Moreno Torroba (1991-1982),
to name but three. I always felt that Vicente Asencio stood apart from
his contemporaries, whereas Turina, Rodrigo and Torroba, for the most
part, derived their music from the folk traditions and dance forms of
Spain. Asencio seemed to be drawn more to the emotional side of the
human condition as a basis for composition, "Collectici íntim"
being a good example. This puts unusual demands on the performer, as
a work of this nature requires a more intuitive approach to give it
any credibility. Escobar delivers a convincing account of the pieces,
the technical difficulties not being apparent.
Naxos have yet again given us a varied selection of
well played, well recorded guitar music. Most enjoyable.
Andy Daly
NAXOS 8.555719
[68:06] 
