The Three-Cornered Hat; Nights in the Gardens of Spain; Tributes. Raquel Lojendio, soprano; Jean-Efflam Bavouzet, piano; Juanjo Mena, BBC Philharmonic. Chandos CHAN 10694.
Spanish composer Manuel Maria de Falla (1876-1946) wrote some of the most colorful music Spain ever produced, and this album offers three of his best works, done up in splendid Chandos sound.
The program begins with his two-act ballet El sombrero de tres picos (The Three Cornered Hat), a lighthearted tale of attempted seduction, which the composer wrote in 1919 for Sergei Diaghilev's Ballets Russes. The music, based on a well-known Spanish folk tale and several popular Spanish folk tunes, is continuously rhythmic and infectious, here presented by the BBC Philharmonic under their current chief conductor, Juanjo Mena, with soprano Raquel Lojendio. While the performance is most fetching, the real question, I suppose, is how it compares to the famous 1961 stereo recording by Ernest Ansermet, who conducted the music's première, and the Orchestre de la Suisse Romande (Decca and LIM). The answer is that Mena and company almost hold their own.
Maestro Mena displays a good deal of spark in select passages, sometimes igniting a fiery response from his performers, while also taking a more relaxed, though eloquent, approach throughout much of the rest of the piece. The soloist is especially effective and her phrasing impressionistic. OK, I have to admit that Ansermet seems more consistently animated throughout, yet that should take nothing away from Mena's more easygoing and evocative interpretation. I also have to admit that for me the music itself gets a little static by the halfway point, and Mena's slightly casual reading doesn't exactly make it any better. However, that's just me, and I have no doubt the present recording, particularly the exhilarating conclusion, will more than satisfy most listeners.
The second item on the program is Noches en los jardines de Espana (Nights in the Gardens of Spain), for piano and orchestra, which Falla originally wrote in 1909 as a set of nocturnes for piano alone and orchestrated for a première in 1916. Here, pianist Jean-Efflam Bavouzet joins Maestro Mena and his BBC players for the recording. Falla described the music as a set of impressions of three gardens in his country, and if any performance is to succeed, it must call to mind the visions, even smells, of those gardens. Here, I found Mena's performance more to my liking. It clearly evinces the proper moods and atmosphere of the various gardens, and Bavouzet's piano playing is dynamic in support.
The program ends with Homenages (Tributes), a suite for orchestra Falla completed in 1939 and was among his last works. In four primary movements Falla pays his respect to four fellow composers and musicians (Enrique Fernandez Arbos, Paul Dukas, Claude Debussy, and Felipe Pedrell), and in the music he draws upon some of his previous work. Not terribly "Spanish" in flavor, the Homenages are, nevertheless, quite full of distinctive character, specifically the way Mena does them up. And although they are understandably dark and elegiac, they can be rather exuberant affairs at times as well.
Chandos recorded the music at MediaCityUK, Salford, England, in June and September of 2011. The sound is vivid enough, yet natural, too. It hasn't the immediacy of the old Decca recording I mentioned earlier, but for a lot of folks the softer, warmer Chandos sound may be easier on the ear, depending on one's playback equipment, of course. Additionally, the Chandos disc has a nice balance between soloists and orchestra, with a fair amount of transparency, air, and depth to the instruments. The acoustic is somewhat resonant, so we get an adequate sense of hall ambience in the music without losing too much detail or definition. Bass sounds taut, and highs, while not prominent, sound well extended.
John J. Puccio, Editor, Publisher, Reviewer
Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.
Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer
For more than 20 years I was the editor ofThe $ensible Soundmagazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.
For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Onkyo C-7030 CD player, Legacy Audio StreamLine preamplifier, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my LG G7 ThinQ cell phone, which features surprisingly sophisticated audio circuitry. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst
I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.
Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.
It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.
When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.
So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio
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