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Federico MORENO
TORROBA(1893-1982) Guitar Music Volume 1 Castles of Spain: Turégano [2:22]; Manzanares
el Real [1:04]; Alcaniz [1:43]; Siguenza [1:55]; Alba de
Tormes [1:41]; Torija [2:06]; Montemayor [1:30]; Olite
[2:17]; Zafra [2:54]; Redaba [1:28]; Simancas [1:48]; Alcázar
de Segovia [2:42]; Javier [3:57]; Calatrava [2:59] Gates
of Madrid: Puerta de Alcalá [2:44]; Puerta del Angel
[1:52]; Puerta Cerrada [3:10]; Peurta de Hierro [1:29];
Puerta de San Vicente [1:36]; Puerta de Toledo [1:47];
Puerta de Moros [2:54] Preludio [2:18]; Vieja Leyenda
[2:20]; Jaranera [1:28]
Ana Vidovic
(guitar)
rec. 22-25 September 2005 at St. John Chrysostom Church, Newmarket, Ontario,
Canada. NAXOS 8.557902 [52:40]
It is six years since the
first Naxos recording of guitarist Ana Vidovic was released.
While she has made other commercial recordings, this has
been the most widely available. With an eclectic programme
ranging from J.S. Bach to Sir William Walton, it could only
be described as outstanding
In that original Naxos recording
Ana Vidovic demonstrated an amazing technical facility; she
has ability to play extremely fast but with consummate precision
and accuracy. Her rendition of Ponce’s Sonata Romantic is
a musical feast.
The review disc, her second
for Naxos, is strongly divergent in that it contains music
all from the pen of one compose: Spaniard, Federico Moreno
Torroba. The music selected encompasses principally a collection
of pieces that pay tribute to the many ancient fortifications
throughout Spain and evokes the atmosphere of romance and
mystery of a bygone era.
The castles that Torroba
chose actually exist, but in the realms of fantasy and legend
they are equally real. He did not indicate a sequence in
which these works should be played and in the usual sense
the pieces do not constitute a suite. The familiar Romance
de los Pinos recorded in 1961 by Segovia is named Montemayor (7)
on the review disc.
The gates of Madrid relate
to a time when Madrid was a walled city. Even when the walls
were removed, commemorative arches were constructed and other
entrances were preserved or renovated. Like Castles of Spain
this creation reflects Torroba’s preoccupation and interest
in chains of images.
Andrés Segovia formed a long
and lasting association with Torroba and after an initial
work at the behest of Segovia, a dance in E major, Torroba
composed some 80 works for the guitar. These include dances,
impressionistic pieces, sonatas and sonatinas, suites as
well as concertos and composition for four guitars.
Anna Vidovic comes from the
small town of Karlovac near Zagreb in Croata. She started
playing the guitar at the age of five and aged seven gave
her first public performance. At age 11 she was performing
internationally. Two years later she became the youngest
student to attend the National Musical Academy of Zagreb
where she studied with Istvan Romer. Her reputation in Europe
led to an invitation to attend the Peabody Conservatory
of Music in Baltimore, USA. There she studied with Manuel
Barrueco and graduated in May 2003. Her long list of achievements
includes first place in the 1998 International Francisco
Tárrega Competition, Benicasim. She also won first prize
in the Albert Agustine Competition in Bath, and the Fernando
Sor competition in Rome.
In addition to its harmonies
and rhythms, there are cultural components of Spanish music
that are challenging to articulate but readily recognizable
when acknowledged by the interpreting musician. One Spanish-born
guitarist noted that he could always tell whether the guitarist
playing Spanish music was a native of that country. The great
flamenco guitarist Sabicas personified the very soul of flamenco
and few, even of his fellow countrymen, have so successfully
captured the spirit and soul of this folk music.
The programme chosen while
thematically coherent, interesting and enjoyable is, in one
sense, unfortunate: it is all from the pen of one Spanish
composer and is intended to evoke the soul and spirit
of Spanish culture.
Julian Bream noted that his
rendition of some Spanish music, specifically Albéniz and
Granados, ‘may be un-Spanish to the Spaniard, but for others
it is an image of Spain that they can comprehend, understand
and be charmed by.’ The renditions of Torroba’s music by
Ana Vidovic I can relate to and enjoy, but they lack the
intrinsic spirit and soul of Spain with which Torroba embued
them. As a point of comparison and reference, listen to the
music of Torroba played by José Luis González (El Testament
D’Amelia Sony SRCR8967) and Andrés Segovia (The Segovia
Collection Vol. 2, MCA Classics).
It may be that this impression
is exacerbated by the use of a very non-Spanish sounding
guitar. This instrument by Australian luthier J. K. Redgate,
despite many virtues, does not reach the zenith of its prowess
on the music of Torroba. Guitars that depart radically from
traditional Spanish designs are favoured by many of today’s
most eminent players but I have yet to hear an instrument
of this kind that can tonally compare with the best of traditional
Spanish design.
Given an eclectic programme,
Ana Vidovic has few peers from the current generation of
concert guitarists. Usually everything about her playing
is admirable. However based on this all-Torroba programme,
and utilizing the type of instrument that she employs, Vidovic
often fails to capture the spirit of the music.