El Canto del Cisne Negro - Latin-American music that merits attention

In the liner notes, the artists write they're presenting "a collection of largely unknown works for violoncello and piano from Latin America...[These composers] traveled to Europe, where they found themselves torn between their admiration for the culture and their nostalgia for... their own cultural roots. We share their experience, and their music resonated deeply with us."

After listening to the recording, I agree with all points. The blend of classical and traditional music varies with each composer -- but it's always there. And the affinity the performers have with the music enhances their performances. 

Heitor Villa-Lobos' "El Canto del Cisne Negro" reimagines Saint-Saens' "The Swan." It's beautiful work, leaning more towards classical. Jose Elizondo's "Oto&ntilda;o en Buenos Aires" for solo cello seems almost like a folk dance arranged for solo cello. In between those two extremes are some exceptionally beautiful works by Luis Saglie, Manuel Maria Ponce, and Joaquin Nin. 

And throughout these works, I heard that connection the musicians had with the music -- and each other. Their performances brought out the essential national characteristics of each work, carefully matched to the composer's style.

I especially admired Nicole Pena Comos' playing. Her cello has a rich, sonorous sound that made lyrical passages exceptionally beautiful. Yet she and pianist Hugo Llanos Campos could deliver firey energetic performances when required. 

Though these are all Latin American composers, Comas and Campos let the distinctive voice of each one come through. An exceptional release of music that merits more attention.

El Canto del Cisne Negro

Nicole Pena Comos, cello; Hugo Llanos Campos, piano

Ars Produktion

 

Rafaele Carpino sources Mauro Giuliani guitar works

Mauro Giuliani was the pre-eminent guitar virtuoso of the early 19th Century. And, as was the practice, virtually all of his compositions were for his instrument. 

This release features six works, four of which in Giuliani's favorite form -- theme and variations. 

Guitarist Rafaele Carpino is also a historiographer of the instrument. For this recording, he uses the first edition scores of the music. 

That's important because Giuliani's music has been tweaked by different editors over the centuries. One of the significant differences here is that Carpino observes all of Giuliani's notated reprises. 

Yes, it does lengthen the works. But it also changes their shape. The reprises bring the listener back home to the theme after the wide-ranging voyages of Giuliani's variations. 

Carpino performs with precision and taste. His phrasing is elegant and often helps the listener follow the often-obscured melody. 

A beautiful recording with a fresh take on familiar music.

Mauro Giuliani: Guitar Works 

Rafaele Carpino, guitar 

Tactus TC 780704 

Aquarelles -- fine music-making with old friends

This is what chamber music should be about -- a conversation among old friends. Bonita Boyd, Steven Doane, and Barry Snyder are all long-time current or former faculty of the Eastman School of Music. 

The individual performances are top-flight, as one might expect of such musicians. But they're also fully integrated. All three performers are in sync, sharing the same musical vision for each work. 

And those works make an interesting program. Three are relatively modern; the trios by Martinu, Gaubert, and Damase. Then there's the Trio for Piano, Flute, and Cello, Op. 63 by Carl Maria von Weber.

This 1819 work is quite delightful, full of rich harmonies and highly-charged climaxes, and dramatic contrasts. Coming after the three relatively austere 20th Century trios, this music sounds refreshing. 

Virgil Thompson called Martinu's Trio for Flute, Cello, and Piano H.300 "the work of a fine jeweler." It's easy to hear why. Martinu's themes are precisely balanced and expertly developed. The harmonies counter melodies, and accompanying figures are all interrelated, resulting in a work that's both simple and complex.

Phillipe Gaubert was a founder of the French Flute School. His trio was originally written for a standard piano trio. But he allowed the substitution of the flute fo the violin, and that's the version most commonly played today. Although all three parts are substantial, it's flutist Bonite Boyd that shines in this performance.

The trio of Jean-Michel Damase reinterprets the Baroque style. Damase's neo-classical work retains much of the form of the older style while infusing it with decidedly modern harmonies and melodic contours. 

Each work is worthy of attention. But what makes this album desirable are the performances of these three friends.

Aquarelles
Bohuslav Martinu, Philippe Gaubert, Jean-Michel Damase, Carl Maria von Weber
Bonita Boyd, flute; Steven Doane, cello; Barry Snyder, piano
Bridge Records 9539

Hans Gal remembers Vienna in his recorder music

Although "Remembering Vienna" may seem like part of the current Hans Gal recording boom, that's not quite the case. Recorder player Sabrina Fey and pianist Bernard Parz were friends at university. 

But her specialty was early music, and his Viennese repertoire. It seemed they would never be able to perform together -- until they discovered these works by Hans Gal.

And it's a perfect union. Gal wrote a few works for the recorder, but they're all well-crafted and tuneful. Well-worth the time and effort of a talented recorder player.

And Gal, who fled Austria in 1938, continued to compose in a post-Romantic Viennese style for the rest of his life. Ideal for a pianist specializing in that style.

The result is a collection of attractive and appealing works. They're modest in scope, but Frey and Parz deliver heartfelt performances. And I think some of the delights of finally being able to perform together comes through in their duets.

The album also includes Gal's Op. 110 set for solo recorder, and his Three Small Pieces for Piano, op. 64. So we get to hear these talented performers individually as well as collectively. 

If you're a Hans Gal completist, then of course you should add this release to your library. But if you just enjoy beautiful chamber music, then you also should give "Remembering Vienna" a listen.  

Hans Gal: Remembering Vienna
First Complete Recordings for Flauto and Piano
Sabrina Frey, flauto; Bernard Parz, piano
TYXart