Composer: Isaac Albéniz, Enrique Granados, Joaquin Malats, Emilio Pujol
Works: Mallorca, Opus 202; Suite Española, Opus 47; Córdoba, Opus 323 No. 4; Dedicatoria; La Maja de Goya; Nadza Española No. 4; Valses Poèticos; Danza Española No. 5; Serenata; Tango Español; Guajira
Performers: Julian Bream, guitar
Recording: Recorded in Wardour Chapel, Wiltshire, 1982-3
Label: BMG 74321 68016 2
The guitar repertoire boasts a rich tapestry of Spanish influences, with composers such as Isaac Albéniz and Enrique Granados epitomizing the nationalistic fervor that characterized late 19th and early 20th-century Spain. This recital, featuring Julian Bream—one of the most esteemed guitarists of the 20th century—presents a selection of pivotal works that not only highlight the technical demands of the instrument but also encapsulate the emotive depth and cultural essence of the Spanish musical landscape.
Bream’s interpretation of Albéniz’s Suite Española, a cornerstone of the guitar repertoire, is particularly noteworthy. The opening “Granada” is rendered with a delicate touch, showcasing Bream’s ability to convey both the lyrical and rhythmic nuances intrinsic to the piece. His phrasing imbues the music with a sense of longing, while maintaining a clarity that allows the intricate counterpoint to emerge with vividness. The “Córdoba” further exemplifies Bream’s mastery, where he deftly balances the lush harmonies with a nimble execution that evokes the essence of the flamenco tradition, a feat that could easily overwhelm less adept performers.
Granados’ Valses Poèticos, though less frequently performed on the guitar, benefit from Bream’s sensitive interpretation. Each waltz is imbued with distinct character, as Bream navigates the subtleties of tempo and dynamics with finesse. The absence of mannerism is particularly striking; instead, we find a genuine connection to the music’s emotive core. The “Danza Española No. 5” in particular is a spirited performance, with Bream’s precise articulation of the rhythmic elements underscoring the vivacity of the dance.
The sound engineering of this recording merits special mention. Recorded in the acoustically rich Wardour Chapel, the engineering captures the guitar’s tonal warmth while avoiding the pitfalls of overly close mic’ing, which can detract from the instrument’s natural resonance. The balance achieved allows for a detailed listening experience, where the subtleties of Bream’s fingerstyle technique can be appreciated without the interference of excessive ambient noise or an overly sterile sound.
Bream’s performances of Malats’ “Serenata” and Pujol’s “Tango Español” further reinforce his interpretative authority. The former is delivered with an elegant lyricism that reveals the piece’s romantic tendencies, while the latter’s rhythmic drive showcases Bream’s ability to transition seamlessly between contrasting musical moods. His interpretations invite listeners into the music rather than merely presenting it, a hallmark of a true artist committed to the works at hand.
This recital stands as one of the finest examples of the guitar’s expressive capabilities, illustrating Bream’s profound understanding of Spanish idioms. His technical prowess is matched by an interpretative depth that allows both well-known and lesser-known works to resonate with fresh vitality. The combination of superb musicianship, thoughtful programming, and high-quality sound engineering coalesces into a recording that not only celebrates the guitar’s repertoire but also invites further exploration of the rich cultural heritage from which it springs.
