Joaquin MALATS (1872-1912)
Serenata Española arr. Tarrega [4:38]
Luis de NARVÁEZ (1526-1549)
Diferencias sobre ‘Guárdame las vacas’ [3:26]
Canción del Emperador [3:18]
Miguel LLOBET (1878-1938)
Canço del Lladre [2:07]
El Testamnet d’Amelia [2:18]
Fernando SOR (1778-1839)
Variations on a Scottish Theme; ‘Ye Banks and Braes o’ Bonnie Doon’, Op.40 [9:04]
Heitor VILLA-LOBOS (1887-1959)
Schottish ‘Chôro’ [4:07]
Preludes [21:17]
Manuel de FALLA (1876-1946)
Homenaje pour le tombeau de Claude Debussy [3:41]
Joaquín TURINA (1882-1949)
Sevillana ‘Fantasia’ [6:21]
Isaac ALBÉNIZ (1860-1909)
Mallorca, Barcarola, Op.202 [7:21]
Joaquín RODRIGO (1901-1999)
En los Trigales [4:00]
Christoph Denoth (guitar)
rec. 2012, Beethovensaal, Hannover
SIGNUM SIGCD404 [71:46]
As guitarist Christoph Denoth writes in an introductory paragraph to
the booklet notes, the tie that binds this programme is that of the homage,
whether to a person, a town, or a landscape. The theme is given greater
weight in Thérèse Wassily Saba’s full notes where ideas of national
identity and personal ideals are explored. The recital concentrates on
Iberian and Latin American music stretching as far back as Luis de Narváez
in the sixteenth-century and as far forward as Rodrigo in the twentieth,
though the greater part was composed in the later period.
Denoth takes a generally rather relaxed approach to tempo, articulation
and colour. Even in so evocative a piece as Malats’ Serenata
Española he prefers a more leisurely speed, using plenty of rubati.
Both Bream and Segovia (in 1954) are much faster, their articulation more
incisive and their rhythms more biting. Narváez’s delightful Canción
del Emperador brings an attractively voiced performance but, despite
the ‘gym shoe’ squeaking, Bream proves an altogether more
precise and vivid interpreter, bringing a wealth of light and shade to
bear. Denoth is a sympathetic Sor player, though not so extrovert as one
may perhaps like. The ‘Ye Banks and Braes’ variations are
a test of projection and characterisation, tests Denoth largely passes.
The harp imitations are especially well done, and his anticipatory sniffs
are caught by a recording which is both warm and close.
Elsewhere, Albéniz’s Mallorca is somewhat rhythmically
hidebound – contrast Bream’s athleticism – and Turina’s
Sevillana fares better with Bream, once more, because he phrases
more idiomatically, and naturally, and vests the music with a greater
quotient of virtuosity. I was quite taken, however, with Denoth’s
almost breezy approach to Falla’s Debussy homage, Homenaje pour
le tombeau de Claude Debussy. He goes light on the tolling motifs
that Bream emphasises. The Villa-Lobos Preludes could do with
an infusion of Segovian colour and nuance. They sound a bit literal to
make a full impression, though there’s no doubt that the Swiss guitarist
takes them seriously.
The programming of this recital strikes me as well conceived and the playing
is thoughtful, though ultimately lacking in those qualities that elevate
the music’s descriptive qualities.
Jonathan Woolf
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