Largely
consisting of works from Albeniz’s early compositional career this is
an interesting exploration of his first influences. It also marks the
germination of his own ‘signature’ which demonstrated an intimate
knowledge of pianistic textures and an interesting use of contrapuntal
elements.
Many of the works featured were written in the Romantic style. It is
worth noting that Ruben Ramiro manages to lift these compositions,
which at times suffer from repetition and glibness, out of the stuffy
salon ambience. In fact he imbues each phrase with charismatic flare,
much associated with Albeniz’s later works as well as intrigue and
depth.
The
Suite ancienne No. 3
illustrates a penchant for eighteenth-century dances and traces the
first whisperings of the composer’s progression from imitator to
innovator. Through sensitive and intelligent interpretations, this CD
offers the listener a musical journey from youthful works to those of
the Spanish master’s mid-career.
More like a suite than a sonata in form, Albeniz’s
Sonata No. 5 in G flat major, Op. 82
is heavily indebted to Chopin and Grieg. Where themes generally develop
through modulation, the second movement – wittily called ‘el Gallo’
(the cockerel) – is a sparkly interruption, played with here with a
dash of youthfulness. The
Reverie is undeniably Romantic
though slightly more restrained; Ramiro holds attention through poise,
though the pace seems a little slow at times. Juxtaposed with the
Allegro
finale, which is in the manner of Scarlatti and Soler, this piece jumps
and flits in its era, its tempo and sentiment, though the pianist
successfully manages to make it cohere through careful shaping and
close attention to the theme.
First published under the nom de plume ‘Principe Weisse Vogel’,
Diva sin par: Mazurca-Capricho and
Balbina Valverde: Polka brillante humoristica, as well as the
Estudio Impromptu
are reminiscent of the works of Schumann and Liszt. In reference to the
influence of the latter, it has been documented that in 1880 Albéniz
went to Budapest to study with Liszt, only to find that Liszt was
in Germany at the time. Nevertheless, the strength and athleticism of
Liszt can be heard in Albeniz’s
Estudio Impromptu. Ramiro is
careful to pick out these influences as well as highlight the moments
where Albeniz diverges from his forefathers. In this he unshackles
himself from what Harold Bloom calls the ‘anxiety of influence’. The
Ręves, Op. 201 move into a Mendelssohn style, with a predominant singing melody running through the centre of the three movements.
Perhaps the most recognisably ‘Albeniz sounding’ pieces on this CD are
Serenata arabe (later used in his opera
The Magic Opal) and
Zambra granadina.
Composed in 1885 and 1891 respectively, these contain the guitar
rhythms and exotic scales associated with flamenco. A hauntingly
beautiful melody with Moorish inflections and the use of Andalusian
folk-songs are the features which give these pieces their specifically
lyrical and oriental colours. Along with the constant switching between
major and minor, creating an unsettlingly unpredictable effect above
the ostinato rhythm, these elements conspire to produce that
characteristic Albeniz effect. Ramiro performs with a captivating
impression of spontaneous improvisation.
During the late 1880s, the strong influence of Spanish style became
evident. In 1883 Albéniz met the teacher and composer Felipe Pedrell, a
leading figure in the development of nationalist Spanish music. Gilbert
Chase, in his book entitled
The Music of Spain,
describes Pedrell's influence on Albéniz as follows: ‘What Albéniz
derived from Pedrell was above all a spiritual orientation, the
realization of the wonderful values inherent in Spanish music’. Indeed,
this instinctive sensibility and vigour colours pieces such as
Serenata arabe,
Cadiz-Gaditana (a world premiere recording), and
Zambra gradina.
Albeniz’s
Tres improvisaciones
(1903) finish this album and are examples of Albeniz emerging as a
confident and predominantly Andalusian composer whose works contain:
‘less musical science, less of the grand idea, but more colour,
sunlight, flavour of olives. That music of youth, with its little sins
and absurdities that almost point out the sentimental affectation’.
Ramiro puts a spotlight on this vitality, intrigue and zest as he moves
from stable salon-style miniatures to the more challenging and original
Improvisaciones with an admixture of elegance and Hispanic fervour.
This is volume 4 in Naxos’ Albeniz piano music series although the
first instalments were in the hands of Guillermo González.
Reviews can be found as follows:
Volume 1 ~~
Volume 2 ~~
Volume 3.
Lucy Jeffery
