Joaquín RODRIGO (1901-1999)
Concierto de Aranjuez (1939) [22:19]
Fantasía para un Gentilhombre (1954) [22:30]
Heitor VILLA-LOBOS (1887-1959)
Concerto pour guitare et petit orchestra (1951) [19:01]
Göran Söllscher (guitar), Orpheus Chamber Orchestra
rec. 1989 Performing Arts Center, State University of New York
Presto CD
DEUTSCHE GRAMMOPHON 429 232-2 [64:20]
Since its composition ninety years ago, the Concierto de Aranjuez has become to the guitarist the equivalent of the Goldberg Variations to the pianist or The Four Seasons to the violinist and every one of note has made a recording. As a result, there are so many that choice is almost arbitrary. There isn’t so much variation in timings or approach that one stands out, as the required mood of each of its three movements is so clearly dictated by the music itself, from the gentle, upbeat breeziness of the Allegro con spirito to the soulful, melancholy grandeur of the Adagio – justly the most famous movement – to the rousing, good-natured dance of the brief, concluding Allegro gentile. It is a work of genius, a small masterpiece which seems to embrace more of the spirit of Old Spain than its mere twenty or so minutes’ duration should allow – and it is all the more remarkable if we recall that it was written just as one of the bloodiest and most brutal wars of the century, the Spanish Civil War, was coming to an end – or perhaps we should view it as an understandable excursion into the consolations of nature and an evocation of the civilised environs of the gardens of the Palacio Real.
The Fantasía, too, is a consciously retrospective, idealised and nostalgic homage to a past Spain, based as it is upon themes from the works of the baroque composer Gaspar Sanz. Söllscher is a refined, restrained interpreter of these works, and clearly takes as his guide the connotations of the Italian word “gentile” describing the third movement to mean “polite” and “courteous”. I do not by any means wish to imply that he is bland or bloodless, just that he is the epitome of a civilised “less is more” style compared with guitarists whose way is more demonstrative – and I like it. I compared him almost randomly with Pepe Romero’s earlier, analogue recording with Sir Neville Marriner. Both are virtuosos, of course, but Romero has the more indulgent manner – considerably slower in the Adagio – and a “plinkier”, more metallic sound, but those are neutral observations and I cannot say that I prefer one to the other. Söllscher’s digital sound is fuller and he is better balanced with the small orchestra - Romero is quite forward – but again, differences are marginal. Making another random comparison, I can say that I slightly prefer both of those recordings to Carlos Bonell with Dutoit but once more, there is little in it. Others will turn to Julian Bream or John Williams and be wholly satisfied.
The Fantasía is a more intimate and episodic work – more of a suite, in fact, and it makes an apt pairing, sharing, as it does, the mood and ambience of the Concierto - although its orchestration is sparer, which suits Söllscher’s cooler playing. It is replete with lovely, courtly, bucolic tunes – rather akin to a Spanish “Greensleeves”!
The little Villa-Lobos concerto was written specifically for Segovia at his insistence and makes more demands upon the technical expertise of the guitarist – although the end of Rodrigo’s Canaria is also demanding. Villa-Lobos’ music is a heady admixture of folkloric, Impressionistic, street music and neoclassical influences. The first half of the central, slow movement is a dreamy meditation which ushers in a challenging, extended cadenza - and Söllscher is equal to the challenge, exhibiting playing of extraordinary delicacy and dexterity.
The playing of the famous Orpheus Chamber Orchestra – famous, too, for doing without a conductor, as per here - is predictably skilled and sensitive throughout.
This trio of seminal guitar works could hardly be better played or recorded – kudos to Presto for making it once again available.
Ralph Moore
