Customer Reviews

Sevilla: The Music of Isaac Albéniz

5 star:		(9)
4 star:		(0)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

For me, it is interesting to compare this recording to a similar recording by David Russell ("Reflections of Spain") that readers might also know. These recordings share only a few pieces by Albeniz between them (given that Jason Vieaux, unlike Russell, is playing all Albeniz), but they both speak to the Spanish sensibility in a similar vein.

Starting from a purely objective and clinical viewpoint, Mr. Russell is a technically superior guitarist. He plays with almost no detectable string or finger noise and with a deceptive ease that I have heard in no other player. He also plays a comparatively resonant guitar, giving his sound a remarkable and uniform depth of tone and the illusion of a guitar that is pitched lower than normal; and, he makes maximum use of this sound in all his playing. Also, his recording seems more acoustically "natural." Mr. Vieaux's recording seems to have either added reverb or is made in a much more resonant recording space.

For all of Russell's flawlessness, Vieaux simply stands apart in his brilliant rhythmic and sonic interpretation of the music. Even if his technique lacks the polish of Russell's fluid playing (with string noise not more than most first-rate guitarists), as another reviewer has noted, Vieaux simply "transcends mere technical proficiency" with an utterly focused energy and sensitivity that is uncanny to hear.

The most illustrative work to compare them is Sevilla, which each guitarist has arranged himself from the piano original. Russell plays it ever so cleanly and with what I might call an easy and friendly delivery. Again, his tone is perfectly even, extremely lyrical, and consistent throughout. His transcription is a bit longer than Vieaux's by a minute and a half (not sure exactly how, played at a similar tempo--may be by taking more repeats).

Vieaux, on the other hand, plays with a much richer color palette, using more of the string between the bridge and the finger board to subtly alter the timbre (similar in approach to the remarkable Sharon Isbin of "Dreams of a World"). His voicings are incredibly subtle and his ability to stretch and steal tempo (reaching beyond rubato) without seeming to lose a beat, is breathtaking, especially in the intensely passionate slow middle section of this piece. I can think of no other way to describe his sound and rhythm than pure Spanish in temperament. Even if the recording adds reverb, Vieaux seems able to voice it perfectly (which may indicate the "reverb" is not really that much added). Russell plays this middle section with a pleasant lilt, but with nothing of the hair-trigger angles, and stunning silences that Vieaux weaves through the same piece.

I truly love both players playing, but if I had to choose one, I would take Vieaux's effort without hesitation. Yes, it would be nice if Vieaux could play as flawlessly as Russell, but it might well be that Vieaux could never deliver the expressive range and rich content that he has achieved while attempting to do so.

Note: Since I first wrote this review, another reviewer has pointed out that the CD notes clearly and specifically indicate that no reverb was used in the recording (which I somehow did not read). In fact, the recording technique was specifically designed to avoid any signal editing that would affect Mr. Vieaux's artistry. I apologize for the mistake, and also commend the engineers, as well as Mr. Vieaux, for the remarkable results that we hear.

With the exception of Bach, Isaac Albeniz probably deserves the most gratitude by classical guitarists for his contributions to the classical guitar repertoire. Even though Albeniz wrote for the piano, many of his compositions sound more appropriate for guitar; furthermore, his works are thematically brilliant and well developed. As with many composers, Albeniz was able to draw upon his country's folk music, including flamenco, for musical ideas and inspiration.

Jason Vieaux, the performer of this collection of fine works, is one of the best classical guitarists today. He gives each piece a beautiful interpretation and tonal quality. I think only a few of the best guitarists exceed Vieaux's performance of certain pieces in this collection: John Williams' stupendous 1969 recording of "Asturias" and "Sevilla" from The Seville Concert; Parkening's exquisite "Rumores de la Caleta;" and Segovia's "Torre Bermeja." But even with the aforementioned pieces, Vieaux gives his own distinct and brilliant touch; moreover, his "Granada," "Tango," and "Cuba" are the best I've ever heard. The only piece I wish Vieaux had included on this CD is "Zambra Granadina." Overall, including the very good recording quality, this is a wonderful CD.

Jason Vieaux is a brilliant young guitarist who transcends mere technical proficiency and plays with a passion and flair that belie his age. Albeniz' music, originally written for piano, assumes a haunting lyricism when performed on guitar. True to its flamenco inspired roots, it also displays the intricate rhythms and flourishes one would expect. Vieaux's sensitivity and talent are particularly well suited to its challenges.

This is a must-have recording for all fans of Spanish guitar music.

Jason Vieaux' playing is technically brilliant, but also very emotional and expressive. I think he did all the transcriptions himself, so it's an academic masterpiece, too. I think it's the best classical guitar album I've ever heard.

I am in agreement with the reviews which ascribe to Mr. Russell the superior technique and to Mr Vieaux the superior interpretation of Albeniz. (At these heights of musical accomplishment, it seems hubristic to dare compare.) So, I add nothing in this regard.

What I do wish to mention is that the liner notes specifically state that reverb is not used in the production process. The recording was done in a cathedral with what the notes refer to as 'dual source recording.' The result, in all respects is remarkably effective.

Albeniz seems to me made for the guitar. These guitar transcriptions transcend the original piano compositions.

Having just raved about David Russell's CD "Legends of Spain," what to say about Jason Vieaux's all-Albeniz CD, Sevilla?

Both CDs are wonderful examples of Spanish classical guitar playing at its best. That Russell has the superior technique seems clear: His technique has to be heard to be believed. But technique is more than physical prowess. It is the ability to utilize technique in the service of bringing out what you want to in the music. It is the combination of touch, variation of tone and color, dynamic shading, and the like - the ability to totally control, sublimate, if you will, one's technique in service to the music.

Jason Vieaux's playing is masterful, his playing intensely poetic and very musical. Each piece seems superbly crafted and realized, the playing drawing you into it seductively. I've rarely heard a guitarist utilize the sounds and capabilities of the instrument as much as Jason Vieaux. Fine as both David Russell and Jason Vieaux are in Albeniz, if I had to choose, I'd take Jason Vieaux.

For other ways of playing Albeniz, try John Williams in his all- Albeniz CD (Sony), Manuel Barrueco in his CD of Albeniz and Turina (EMI), and Julian Bream in his CD of Spanish Music for the Guitar (the Suite Espagnola, Op. 47, BMG/RCA).

The sound in Jason Vieaux's CD is somewhat reverberant and resonant, but not compromising.

Amazon's track listing is confusing and has errors. Here is what is on the CD:

1. Sevilla 4:57
2. Cadiz 4:42
3. Rumores de la Caleta 4:10
4. Cordoba
5. Granada 5:05
6. Cataluna 2:20
7. Tango 3:13
8. Mallorca 7:45
9. Cuba 5:44
10. Zortzico 3:25
11. Asturias (Leyenda) 7:01
12. Torre Bermeja 4:19
13. Capricho Catalan 3:23

64:33

"Sevilla" is the most-played CD at our house, and has been ever since we got it a couple of years ago. Jason Vieaux's playing is so gorgeous - for my money he is the finest classical guitarist in the world. We treasure this CD. Here's a detail, but an important one: Vieaux's playing is perfectly clean, acoustically, i.e., there are no fingering squeaks on the wound strings. The Albeniz pieces are gems, and his interpretation is marvelous.

Since this CD travels with me a lot, on one occasion it got misplaced. It didn't turn up, despite searching. The loss was significant enough that I bought another one, and felt better. Then, of course, I found the one that was lost. I'll gift the new one to somebody, but I'm not sure who, because I've already gifted "Sevilla" to all of my extended family ...

This young man is as much a revelation in this century as Segovia was in the last. The recording team are to be congratulated on bringing listeners into the presence of this superlative artist. Do not miss this amazing recording.