Alma Guitarra – Volume 1
Marco Del Greco (guitar)
rec: 2019, San Michele Arcangelo, Sermoneta, Spain
DA VINCI CLASSICS C00566 [52]
Over the past four decades, the way in which recorded music is accessed has changed dramatically. Irrespective of which format is preferred, the more recent renaissance of analogue recordings via the vinyl format, suggests that, sonically, something is lacking; did purely digital not deliver all that was promised? In a similar vein, over that same period the classical guitar has also undergone significant changes. These include changes in construction, bracing design - lattice bracing being the most popular - double soundboards, elevated fingerboards and extra strings. All these are strongly deviant from the standard Torres design developed in the nineteenth century. The review disc suggests that these innovations and changes probably do not, sonically, deliver all they were purported to by the instigators.
Marco Del Greco was born in Rome in 1982. From the Conservatorio Santa Cecilia, in the class of Carlo Carfagna, he obtained a Master’s Degree, graduating cum laude, and menzione d’onore. He later studied with Stephan Schmidt in Basel, Switzerland, receiving a Master’s Degree cum laude in concert performance He also has an impressive list of wins in major international guitar competitions, including the 53rd Tokyo International (2010). Alirio Diaz (2005), Nicola Fago (2001) and many others. He is currently guitar professor at the Conservatorio Rinaldo Franci in Sienna, Italy.
The liner notes, written by the guitarist, provide valuable insight into the inspiration and influences which he embraced in pursuing this recording. In 1927, the writer Alessandro Manzoni acknowledged that the language spoken by the people of Tuscany, was to be the model that would give a purer linguistic style to his novel ‘The Betrothed’, considered a masterpiece in Italian literature. Inspired by Manzoni’s initiative, Marco Del Greco turned toward the places where the modern guitar has its deepest roots. All within Spain, the three main sources on which he centred his research, were instrument building, interpretation, and composition. These were the key sources from which the instrument emerged in a rebirth at the beginning of the 20th century. The most eminent names in the process include Antonio de Torres, Francisco Tarrega and Manuel De Falla, the latter representing the first spark of interest by a non-guitarist in composing for the instrument. The project began from that point, and pursued a rediscovery of the guitar’s authentic sound in the rebirth years. The word ‘alma’ used in the recording title, has a double meaning: in Spanish it means ‘soul’, and in Latin it derives from the verb ‘alere’ to nourish, to give life.
As Regino Sainz De La Maza occupies a major role in the programme, and also because he gave the premier of the Concierto de Aranjuez on a Santos Hernandez guitar with maple wood, similar to the one used in this recording, Marco Del Greco comments further: ‘Alirio Diaz, who studied with him in the 1950s, remembered him as sublime composer and a genius guitarist.’ Interestingly, in an interview with Classic Guitar magazine (March 1994), Alirio Diaz commented on Regino Sainz De La Maza as follows: ‘great composer, but as a guitarist, disastrous’.
Perhaps the most intriguing aspect of this recording is the instrumentation. Marco Del Greco uses three different instruments from the earlier and mid part of the 20th century: Manuel Ramirez, Madrid 1916, Manuel Ramirez/Santos Hernandez, Madrid 1917, and Santos Hernandez 1942. Those familiar with Madrid luthiery will know that Santos Hernandez was initially
foreman to Manuel Ramirez before he established himself as an independent maker; also, that he constructed the famous Manuel Ramirez guitar given to Andres Segovia by Ramirez at the commencement of his concert career.
While each instrument in the recording was carefully assigned to individual programme items based on degree of timbral affinity and of similar character, unless so informed, most listeners would not be aware that three different guitars were being employed. Given the commonality of the instruments, this is probably to be expected.
The guitarist also addresses the subject of strings. Until circa 1947, when nylon strings were first used in concert, the classical guitar employed gut strings with all their virtues and vices; there was simply no viable alternative. The strings used on all three guitars in this recording are gut for the trebles and a particular synthetic silk wound for the bass. While these strings have limits - mainly concerns about duration and reliability - they possess a colour and expressiveness which is very different from the modern nylon versions.
This recording, like all those made in a studio, has unique benefits not found in the concert hall during live performance and one must address the question of how these instruments may sound in the latter circumstances. Some guitarists use older standard Torres design for recording and modern lattice-braced designs in live performance, especially with ensembles and orchestral accompaniment where volume and sustain are always a challenge. Modern-design guitars usually offer greater volume at the expense of a rather metallic,’ banjoey’ sound.
One immediate observation from the review recording is that all three guitars have a slightly ‘tubby’ sound in the bass, with minimal sustain. Any slight perceived disadvantage in this register is insignificant in relation to the overall beauty of the guitars’ sounds.
Marco Del Greco demonstrates complete mastery of his instrument, with a strong sound and beguiling tone, embellished by his choice of strings and instruments Those familiar with this Spanish repertory will recognize that Italian guitarists usually play it quite differently from the Spanish: more academically, with less idiomatic and visceral involvement. To explore this point more, listen to the playing of Jose Luis Gonzalez (Julia) on social media.
Zane Turner
Contents
Luys Milán (1500-1561)
Fantasia X
Joaquín Rodrigo (1901-1999)
Tiento Antiguo
Zarabanda Lejana
En Los Trigales
Federico Moreno Torroba (1891-1982)
Nocturno
Suite Castellana
Regino Sainz De La Maza (1896-1981)
Canciones Castellanas
Rondeńa
Petenera
El Vito
Ramón Montoya (!879-1949)
Rondeńa
