Composer: Máximo Diego Pujol, Narciso Saul, Hector Ayala, Carlos Guastavino, Juan Falu, Walter Heinze
Works: Tres Piezas Rioplatenes, Suite del Plata, No.1, Boulevard San Jorge, Serie Americana, Sonata No. 1, Tres Piezas, Concordancias
Performers: Victor Villadangos – guitar
Recording: NAXOS 8.555058
Label: NAXOS
Victor Villadangos’s debut recording for Naxos, featuring a selection of Argentine guitar music, serves as a contemplative journey through the rich tapestry of the nation’s musical heritage. Each piece selected showcases the individual composers’ unique styles while simultaneously reflecting the broader historical and cultural contexts of Argentina. The works of Máximo Diego Pujol and Hector Ayala, both active figures in contemporary Argentine music, are particularly noteworthy, as they embody the fusion of traditional Argentine folk elements with classical forms.
Villadangos’s interpretation of Pujol’s “Tres Piezas Rioplatenes” reveals a profound understanding of the work’s rhythmic intricacies and emotional depth. His playing offers a meticulous balance between clarity and expressiveness, allowing the listener to appreciate the nuanced textures inherent in Pujol’s compositions. The “Serie Americana” by Ayala, a piece steeped in the folkloric idioms of his homeland, is rendered with a rhythmic vigor that elevates its inherent dance-like quality. Villadangos’s firm attack and crisp articulation enhance the work’s kinetic energy, making this rendition arguably superior to previous recordings, including those by the esteemed Narciso Yepes.
The engineering quality of the recording deserves commendation as well. The balance between the guitar and the acoustic space allows for a natural resonance that complements Villadangos’s technique. Each note is captured with precision, allowing the listener to discern the subtle inflections and dynamic contrasts that are essential to the interpretation of Argentine music. The clarity of sound creates an inviting atmosphere, drawing the audience into the intimate conversation between the performer and the instrument.
Comparatively, while earlier recordings of similar repertoire may have emphasized a more romanticized approach, Villadangos opts for a directness that adheres to the rhythmic and melodic integrity of the works. This is particularly evident in his rendition of Carlos Guastavino’s “Sonata No. 1,” where the interplay between lyrical passages and rhythmic drive is executed with an impressive finesse. Villadangos’s choices in phrasing and dynamics breathe new life into these compositions, presenting them not merely as relics of the past but as living, breathing works that resonate with contemporary audiences.
A synthesis of technical prowess and interpretive insight characterizes this recording. Villadangos not only showcases his exceptional skill on the guitar but also presents the music of Argentina in a manner that is both respectful and innovative. This album stands as a significant contribution to the guitar repertoire, and its appeal extends beyond aficionados of South American music. It is a testament to the enduring vibrancy of Argentine classical music, making it an essential addition to any discerning listener’s collection.
