The Naxos ‘Spanish Classics’ series ploughs ahead
offering a chance to discover some unknown or little known pieces by
composers rarely encountered. In all fairness Guridi is no longer totally
unfamiliar. I have the disc, which includes his best-known work the
Ten
Basque Melodies (
8.557110) and another, the vast
Sinfonia Pirenaica (
8.557631). Both are also from the Naxos stable. You
might also come across other Naxos advocates for this composer: the piano
works (
8.557663) and the stage work
The Homestead - El
Caserio (
8.557632). It’s now good to welcome some chamber
music to the catalogue.
Jesús Guridi wanted to find a truly national style using
folk-tinged melodies but with an air of high sophistication. Turina and
Falla were on a similar quest. Unlike the others however Guridi, along with
Jose Usandizaga, who died so tragically young in 1915, were not just
Spanish; they were Basque and had an added identity. Their world was not
just a matter of castanet rhythms or melodies of a Moorish-Andalusian caste
such as play such a prominent role in Falla’s output.
Guridi did not tackle the quartet form until he was not far off
fifty although there had been a discarded student attempt. The
String
Quartet No. 1, which is in four movements, was written at a time when
chamber music was becoming much more popular in Spain … even
outstripping zarzuela. It has a sonata-form first movement which is the
longest, a scherzo and trio-type movement second (actually marked
Vivace) and then a mellow
Adagio. The excitable finale wraps
things up happily. There is nothing especially nationalistic or indeed
Basque about the quartet although it’s clear that many of the melodies
and harmonies are modally influenced. There are even dance-like sections
especially in the finale. This is basically a romantic quartet, which moves
effortlessly between profundity of ideas and a sweet sunny disposition. The
two contrasting subjects offered in movement one may even remind some
listeners of Ravel.
The
String Quartet No. 2 of sixteen years later is a little
more pungent especially in its outer movements and in the scherzo and trio
type movement marked
Prestissimo. This comes third this time and can
also be quite excitable, dance-like and rhythmic. There are also moments of
great melodic beauty and expressive, harmonic warmth. You can hear this in
the first movement’s second subject, the passionate
Adagio
sostenuto and the lyrical, contrasting theme in the finale. It is an
arresting, finely crafted work. As Carlos Magán writes in his very
worthwhile booklet notes this quartet and indeed the First “fully
deserve to be part of the international repertoire”. However one must
add that that by 1939 the Second Quartet especially must have seemed rather
anachronistic. Now, with such issues having paled into insignificance, we
can take it for what it is: an “unquestionable contribution to the
genre”.
The Bretón Quartet is amassing a fine reputation especially
in the area of Spanish chamber music. They have recorded quartets by Rodolfo
Halffter and their namesake Tomás Bretón. I heard them a few
years ago playing a marvellous piece by Alfredo Aracil. They are on perfect
form here and very much at home. The recording is balanced beautifully and
is also forthright yet with space around the individual musicians.
This is definitely worth exploring and at Naxos price you
can
afford it.
Gary Higginson
See also reviews by Rob
Barnett and Byzantion
