Composer: Popular
Works: Albéniz: Suite española No.1, Rumores de la Caleta; Torre bermeja; Torroba: Madroños; Tárrega: Capricho árabe, La Alborada; Lauro: Vals venezolana no.3; Villa-Lobos: Chôro no.1 in G, Prelude no.1 in e minor, Prelude no.2 in E, Study no.1 in e minor; Rodrigo: En los trigales; Borges: Vals venezolano; Granados: Andaluza; Malats: Serenata española; Falla: The Three-cornered Hat: The Corregidor’s Dance and The Miller’s Dance
Performers: Julian Byzantine (guitar)
Recording: Wigmore Hall, London, May 1981; Haberdashers’ Aske’s Boys School Elstree, April 1990; St. Dunstan’s, Cheam, December 1974
Label: EMI
Julian Byzantine’s compilation of guitar classics, titled “Guitar Classics Byzantine,” offers an engaging survey of repertoire that draws from the rich tradition of Spanish and Latin American guitar music. The selection spans pieces from the late 19th to early 20th centuries, a period that saw the guitar ascend as a vehicle for intricate expression, particularly within the realms of impressionism and nationalism. By juxtaposing works from luminaries such as Albéniz, Granados, and Falla with lesser-known but equally charming compositions by Lauro and Borges, Byzantine provides listeners with a nuanced tapestry of sound that reflects the guitar’s versatility.
Byzantine’s interpretation of Albéniz’s Suite española No.1 sets the tone for the album, marked by his deft fingerstyle technique and a rhythmic vitality that brings the music to life. His rendering of “Rumores de la Caleta” captures the essence of the Andalusian seaside with its undulating melodic lines that evoke both the beauty and melancholy of the coast. The dynamic contrasts are handled with a sensitivity that highlights the inherent drama of the music. Byzantine’s command over the intricate fingerings and varied articulations is particularly evident in the “Torre bermeja,” where his phrasing allows the delicate interplay of harmonies to shimmer through the texture.
Technical prowess is a hallmark of Byzantine’s performance, yet it is his interpretative choices that elevate the music beyond mere execution. In Tárrega’s “La Alborada,” for instance, Byzantine employs a fascinating tonal palette, achieving an ethereal quality through nuanced use of dynamics and tempo. The descending passages possess a metallic resonance, reminiscent of a distant mandolin, revealing Byzantine’s keen ear for color and atmosphere. Such attention to detail is equally present in the “En los trigales” of Rodrigo, where the interplay of melodies unfolds with a gentle undulation that captivates the listener.
The sound quality and engineering of the recording merit commendation, as the balance and clarity allow Byzantine’s guitar to resonate beautifully without the typical distractions of string noise. This is particularly evident in the more delicate passages, where the nuances of his playing shine through with remarkable fidelity. Each venue captures the essence of the guitar’s voice, from the warmth of the Wigmore Hall to the more intimate settings of Haberdashers’ and St. Dunstan’s. The recording succeeds in enveloping the listener in the rich textures and tonal variations of the instrument, enhancing the overall experience.
Byzantine’s selection comprises not only well-trodden repertoire but also introduces lesser-known gems that enrich the listening experience. The Borges “Vals venezolano” stands out as a delightful discovery, with its lilting rhythms and charming melodic lines providing a refreshing contrast to more familiar works. Such inclusivity in programming speaks to Byzantine’s understanding of the guitar’s cultural significance and his commitment to showcasing its diverse heritage.
Remarkably, Byzantine’s interpretations stand favorably alongside other prominent recordings of this repertoire, offering a unique perspective that is both technically accomplished and artistically compelling. His ability to evoke emotional landscapes through his playing is commendable, making this compilation a worthy addition to any guitar aficionado’s library. The marriage of historical context, technical skill, and interpretative depth renders “Guitar Classics Byzantine” not just a compilation, but a significant exploration of the guitar’s expressive capabilities.
