To complement their 
                de Falla series Naxos have issued this 
                disc of music by a lesser known Spanish 
                composer. Halffter was born in Madrid 
                and later moved to Mexico. He lived 
                at a time when Europe’s experimental 
                new forms of composition were at their 
                peak. As a self-taught composer he had 
                leanings towards de Falla (and Schoenberg 
                probably), but The Three Cornered 
                Hat couldn’t be further from my 
                mind whilst listening to this disc. 
              
 
              
The 
                CD notes, which are in English, Spanish 
                and German, describe Hafftner as evolving 
                a style of: ‘clear-cut rhythmic and 
                tonal contrast enlivened by off-beat 
                accents recalling Stravinsky ... and 
                inflections after Milhaud.’ 
              
 
              
To me much of the music 
                is ‘triangular’, without any reference 
                to a Three Cornered Hat. I find 
                the thematic material scant. It shows 
                no clear development with sections bolted 
                together. Perhaps this is music more 
                reminiscent of a cartoon soundtrack 
                which only has proper meaning when accompanied 
                by visuals. In fact the ballets may 
                well be completely in place when heard 
                in the context of the stage performances 
                for which they were intended. Without 
                a visual stimulus I find the material 
                difficult to enjoy. The booklet surprisingly 
                gives little clue to the nature of the 
                plots of the two ballets within its 
                meagre two page spread on the composer 
                and his works. The additional pieces 
                found on the disc were never related 
                to visual material and are consequently 
                even less assimilated. 
              
 
              
The percussive opening 
                piece, Paquiliztli would seem 
                better placed as a later track as most 
                of the others are better suited to serve 
                as an opening track to ‘set the scene’. 
                The small orchestra performs admirably, 
                but the texture is thin by lack of integration 
                of the instrumental sections in the 
                compositions. This may well be deliberate, 
                but sadly it gives little for the listener 
                to get enthused over. 
              
Raymond Walker