Catalonia is the focus of this disc, which was published in
1991. It promotes the music of Toldrą – whose extensive two-disc
song collection I recently reviewed
with enthusiasm - Casals, and Montsalvatge, the last named
of whom was still very much alive when the recordings were made.
Toldrą was a scion of music in Barcelona. Successively violinist
– he recorded on 78s – composer and conductor, his is a worthy
name. Vistes al mar (Views of the Sea) was composed in
1921 and takes as its point of inspiration three poems by Joan
Maragall: Toldrą was a really acute setter of contemporary Catalan
poetry and had a refined ear for word setting. And, by analogy,
the poetic origins of these orchestral pieces produce comparable
results. This is lively, pleasurable music, though not quite
as personal as his songs. The central slow panel is especially
warm with a nicely introspective air, whilst the finale is frolicsome
and highly entertaining. The lean string tone of the Orquestra
National de Cambra d’Andorra adds its own gloss. The Quartet,
subtitled ‘Per l’art’, is an apprentice work from 1914 but has
been arranged by Gerard Claret, first violin and director of
the orchestra (or ‘concertino-director’ as the notes have it)
for a full complement of strings. It’s solidly crafted and very
anachronistic, and could easily have been written in 1850. The
best movements are the two inner ones, the Scherzo and slow
movement, which are characterful and show a real gift for character,
the lovely Andante sostenuto in particular.
Casals is represented by Sant Martķ del Canigó, his 1947
Sardana, written in exile. Richly voiced and compact,
it’s effusive and almost melancholy in equal measure, seriousness
alongside the dance. Montsalvatge’s Concertino 1 + 13 was
written in 1975 and here Claret comes to the fore as soloist.
It’s an angular work, bearing traces of the influence of Stravinsky
at moments. The central movement is quite jazzy, especially
in the bass pizzicatos, a trilling solo line and hints of March
rhythms. The finale is brisk, avuncular and energetic. Much
less astringent, indeed full of a suffusing lyric intensity,
are the Tres postals; il luminades (Three Illuminated
Postcards). They have a rich folk influence and each is named
after a place. New York, the last of the three postcards, for
instance, is again a jazzy number also full of opulent romance
and striking Rite of Spring rhythms.
The performances are certainly engaging, though I would have
welcomed a greater weight of string tone. Never mind; this is
unusual repertoire, in the main, and well worth getting to know.
Jonathan Woolf
See
also review by Rob Barnett
Orquestra National de Cambra d’Andorra/Gerard Claret (concertino-director)
