This is by no means the first recording of Ibert's
If the settings of Hispanic folk songs (originally for two guitars) by Len Williams, father of the more famous John, sound (and are) simple, I well remember the late-night sessions in the 1950s in which they were tried out and polished, though I no longer recollect where he found the tunes. Following in the footsteps of Gounod, Timothy Walker has added a melodic line to someone else's piece in arpeggios, in this case the Study No. I of Villa-Lobos; if V-L had thought of doing it, I'm sure he wouid have written something very much like this—or would have been pretty pleased with what Walker has done. Judith Hall, no shrinking violet, is a first-class, full-sounding flautist, and Walker matches her every step in this well-drilled (which does not infer inflexibility) and spirited duo. Imbalance, dully careful performances, and thrombosis of the repertoire often cast their shadows over flute/guitar duos, but not over this one.'