Rodolfo Halffter is
the oldest member of a Spanish family
of musicians of Prussian origin. His
brother Ernesto (1905 – 1989) is probably
best known for having completed de Falla’s
La Atlantida whereas his
nephew Cristóbal (born 1930)
is one of the most important composers
of his generation. A number of Rodolfo
Halffter’s works are already available
on disc, mainly thanks to the ASV-Batiz
Mexican series released several years
ago that explored a good deal of unfamiliar
stuff; but this may be one of the rare
releases entirely devoted to his orchestral
music (and, what is more, this seems
to be Volume 1). Interestingly enough,
this release presents works spanning
his entire composing career, from Obertura
concertante Op.5 (his first
published score) to one of his latest
pieces, Paquiliztli Op.46
completed in 1983. So, this first volume
provides for a fair introduction to
his music, often and fairly consistently
by de Falla as well as Stravinsky.
So, the earliest work
here is the sparkling Obertura
concertante Op.5 which, true
to its title, includes an important
piano part. The music is clearly influenced
by de Falla and – most importantly –
neo-classical Stravinsky. It is thus
not surprising that the music also often
nods towards Poulenc, for whom Stravinsky’s
influence was also quite important.
Much of Halffter’s later music will
go along the same lines, and remain
globally neo-classical in outlook, i.e.
characterised by clear melodic lines,
crisp rhythms and piquant harmonies
sometimes causing some mild dissonance.
All these characteristics are clearly
heard in the other pieces in this selection.
The suite from the ballet Don
Lindo de Almería Op.7,
on a libretto by José Bergamín,
however is somewhat different in that
it is scored for strings and percussion,
so that the music displays some comparative
austerity and harmonic stringency, although
it overflows with an almost inexhaustible
melodic fund, which – in this particular
work – pays some tribute to the composers
of the so-called Golden Age of Spanish
music.
On the other hand,
the score for Halffter’s second collaboration
with José Bergamín, La
madrugada del panadero Op.12
("The Baker’s Morning") completed
in 1940, is clearly modelled on de Falla’s
magnificent El sombrero de tres
picos, without slavishly imitating
the older master’s music. It again is
full of attractive and colourful ideas
expertly wrapped in some piquantly scored
Neo-classicism.
The Obertura
festiva Op.21, too, is redolent
of Poulenc (e.g. his Sinfonietta
or some of his lighter orchestral scores).
The music moves on with jollity and
alacrity in a nicely colourful way.
The most recent piece
dates from the composer’s last years,
but is not markedly different from the
earlier works, were it not for its somewhat
unusual scoring. Paquiliztli Op.46
is scored for seven percussionists;
but it is on the whole fairly simple
and straightforward. Nothing here as
forward-looking as similar pieces by
Varèse or by Chavez. We are not
told much about the piece and its obviously
Mexican title; but the global impression
is rather of a march of some sort than
of an ancient pagan ritual. No ground-breaking
novelty, thus, but a quite enjoyable
piece on its own right.
So, in short, colourful,
attractive neo-classical scores lovingly
played and neatly recorded. Fans of
this composer’s music will need no further
recommendation, and those who respond
to the music of Rodrigo or Guridi will
find much to enjoy here. A lovely disc.
Hubert Culot
see also review
by
Raymond Walker
María Elena Barrientos (piano)a
