Guitar Recital

Author: 
John Duarte

Guitar Recital

  • Hommage à Tárrega
  • (15) Tonadillas al estilo antiguo, Amor y odio
  • (12) Piezás características, Torre Bermeja
  • Recuerdos de viaje, Puerta de tierra: Bolero
  • Suite española No. 1, No. 4, Cádiz
  • (3) Piezas españolas
  • Sonatina
  • Homenaje, '(Le) tombeau de Claude Debussy'
  • (El) Sombrero de tres picos, Suite No. 2 (Three dances), The Miller's Dance
  • Hommage à Tárrega
  • (15) Tonadillas al estilo antiguo, Amor y odio
  • (12) Piezás características, Torre Bermeja
  • Recuerdos de viaje, Puerta de tierra: Bolero
  • Suite española No. 1, No. 4, Cádiz
  • (3) Piezas españolas
  • Sonatina
  • Homenaje, '(Le) tombeau de Claude Debussy'
  • (El) Sombrero de tres picos, Suite No. 2 (Three dances), The Miller's Dance

Fernandez's second record is aimed at a popular market even more than was his first (414 160-1DH, 9/85; (CD) 414 160-2DH, 11/85) in that it contains only standard, oft-recorded repertory of Spanish-romantic persuasion. There is nevertheless a market for such collations of pop favourites, not least among guitarists who like to hear how the pieces would sound if they could play them that well. A fellow critic, not a guitar-oriented one, once told me that he warmed to any player who approached the instrument strongly and positively—as though he meant business; he would surely approve of the way Fernandez delivers this familiar mixture of arrangements and original works. To items such as Torre bermeja he does not bring the thrusting passion of Segovia (and some others), though he gives them grace, sharp definition and warm sentiment (without the '-ality'), and many vibrato-coloured phrases recall Segovia's earlier tradition, though the latter never coupled fortissimo with harshness as Fernandez often does. In only one item would I seriously question Fernandez's interpretation: Falla's Homenaje is a 'tombeau' but it is in the form of an habanera and the character of its mourning is liable to be changed when the outer sections are taken slowly; Fernandez, like so many others before him, does not approach the marked tempo of crotchet = 100 and gets one foot caught in the trap. There is often a difference between what the composer wrote and what a performer believes that he meant to write, but Fernandez leaves us in no doubt as to what he means (and is very well equipped) to say. He is a fine musician, an outstanding virtuoso, and here recorded with a sharp clarity that 'tells it like it is'.'

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