Aug 30, 2015

Rodrigo: Concierto de Aranjuez (SACD review)

Also, Fantasia para un gentilhombre; Concierto madrigal for two Guitars and Orchestra. Narciso Yepes, guitar; Godelieve Monden, guitar; Garcia Navarro, Philharmonia Orchestra and English Chamber Orchestra. Pentatone PTC 5186 209.

Spanish guitarist Narciso Yepes (1927-1997) practically made a career of performing and recording (mostly for Decca and DG) Rodrigo's Concierto de Aranjuez. I'm familiar with several of these recordings firsthand: the HDTT remastering of his excellent 1957 Decca rendition with Ataulfo Argenta and the Spanish National Orchestra; his less-than-scintillating 1970 DG account with Odon Alonso and Spanish Radio and Television Symphony Orchestra; and the popular 1977 DG recording with Garcia Navarro and the Philharmonia Orchestra reviewed here, remastered by Pentatone for hybrid SACD.

Joaquin Rodrigo (1901-1999) wrote the Concierto de Aranjuez for guitar and orchestra in 1939, and it eventually established Rodrigo's reputation as a leading composer for the classical guitar. I say "eventually" because it wasn't until Yepes and Argenta recorded it in monaural in the late Forties that it really took off worldwide.

The composer described the first movement Allegro con spirito as "animated by a rhythmic spirit and vigour without either of the two themes interrupting its relentless pace." A couple of things you notice right away about Yepes's performance, and it's indicative of his general style: First, it appears extremely well articulated, every note clearly and sharply delineated; second, he takes it at a fairly leisurely pace. The first movement, for instance, is rather more relaxed than the "con spirito" notation might suggest, so it may not exhibit quite the lively spirit some listeners would like to hear. The result, however, is a performance that is probably everything Yepes's fans love and his detractors dislike: It's a clean, well-executed interpretation, with the easygoing approach mitigated somewhat by the precision of its execution. Still, the performance may appear slightly distanced and colorless compared to other guitarists' renditions.

Rodrigo said that the second movement "represents a dialogue between guitar and solo instruments" (cor anglais, bassoon, oboe, horn, etc.). What he didn't say was how utterly beautiful it was, something audiences have been saying for close to eighty years. Certainly, it's in this second movement that Yepes scores over most of his rivals. His reading is passionate, lovely, and gracious, the mood always tranquil and fragrant.

Then there's that perky little closing tune, the one Rodrigo said "recalls a courtly dance in which the combination of double and triple time maintains a taut tempo right to the closing bar." Yepes emphasizes its delightful dance-like qualities, and, again, although Yepes and company take it at a moderately slow speed, they help it come sweetly together.

Narciso Yepes
Pentatone fill out the disc with Rodrigo's Fantasia para un gentilhombre for Guitar and Small Orchestra, Navarro again conducting but this time leading the smaller English Chamber Orchestra; and the Concierto madrigal for 2 Guitars and Orchestra, with Navarro back with the Philharmonia and the second guitar played by Godelieve Monden. It's really here that the program shines, especially in the work for two guitars, which sounds radiantly alive, Monden a first-rate partner in the piece. Together, Yepes and Monden bring the various little songs brilliantly to life, and it's a charmer, to be sure. Also of note, the Fantasia might use a smaller orchestra but it actually sounds lusher and richer than the Concierto. Go figure.

In all three works the Philharmonia and English Chamber Orchestras accompany Yepes splendidly, lending plenty of polished zip and sparkle to the proceedings.

The folks at Pentatone fill out the disc generously with almost seventy-six minutes of music, and they enclose the SACD case in a light-cardboard sleeve.

Producer Rudolf Werner and engineers Volker Martin and Joachim Niss recorded the music for Deutsche Grammophon at the Watford Town Hall and the Henry Wood Hall, London in April 1979 and June 1977. Polyhymnia International/Pentatone remastered DG's original multichannel tapes for hybrid SACD playback in 2015. You can listen to the music in SACD two-channel stereo or SACD multichannel if you have an SACD player, or you can listen to two-channel stereo using any regular CD player.

I listened in SACD two-channel stereo, where I found the guitar a tad close but nicely integrated into the orchestral framework without being too large or too far out in front. The sound has a pleasantly natural quality about it, never overly bright or dull, forward or recessed. The frequency response sounds well balanced with an especially well extended high end. The imaging places the soloist(s) and ensemble in a realistic perspective, with a moderate amount of depth and ambient warmth to give everything a lifelike feel.

JJP

To listen to a brief excerpt from this album, click here:


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Meet the Staff

Meet the Staff
John J. Puccio, Founder and Contributor

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 Jon 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 for 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 Nehring, Editor and Contributor

For nearly 30 years I was the editor of The $ensible Sound magazine and a regular contributor to both its equipment and recordings 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 they 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 Marantz CD 6007 and Onkyo CD 7030 CD players, NAD C 658 streaming preamp/DAC, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE loudspeakers. I occasionally do some listening through pair of Sennheiser 560S headphones. I miss the excellent ELS Studio sound system in our 2016 Acura RDX (now my wife's daily driver) on which I had ripped more than a hundred favorite CDs to the hard drive, so now when driving my 2024 Honda CRV Sport L Hybrid, I stream music from my phone through its adequate but hardly outstanding factory system. For more casual listening at home when I am not in my listening room, I often stream music through a Roku Streambar Pro system (soundbar plus four surround speakers and a 10" sealed subwoofer) that has surprisingly nice sound for such a diminutive physical presence and reasonable price. Finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom II Bluetooth speaker and a pair of Google Pro Earbuds 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 technologies that enable us to enjoy it in so many wonderful ways.

William (Bill) Heck, Webmaster and Contributor

Among my early childhood memories are those of listening to my mother playing records (some even 78 rpm ones!) of both classical music and jazz tunes. I suppose that her love of music was transmitted genetically, and my interest was sustained by years of playing in rock bands – until I realized that this was no way to make a living. The interest in classical music was rekindled in grad school when the university FM station serving as background music for studying happened to play the Brahms First Symphony. As the work came to an end, it struck me forcibly that this was the most beautiful thing I had ever heard, and from that point on, I never looked back. This revelation was to the detriment of my studies, as I subsequently spent way too much time simply listening, but music has remained a significant part of my life. These days, although I still can tell a trumpet from a bassoon and a quarter note from a treble clef, I have to admit that I remain a nonexpert. But I do love music in general and classical music in particular, and I enjoy sharing both information and opinions about it.

The audiophile bug bit about the same time that I returned to classical music. I’ve gone through plenty of equipment, brands from Audio Research to Yamaha, and the best of it has opened new audio insights. Along the way, I reviewed components, and occasionally recordings, for The $ensible Sound magazine. Most recently I’ve moved to my “ultimate system” consisting of a BlueSound Node streamer, an ancient Toshiba multi-format disk player serving as a CD transport, Legacy Wavelet II DAC/preamp/crossover, dual Legacy PowerBloc2 amps, and Legacy Signature SE speakers (biamped), all connected with decently made, no-frills cables. With the arrival of CD and higher resolution streaming, that is now the source for most of my listening.

Ryan Ross, Contributor

I started listening to and studying classical music in earnest nearly three decades ago. This interest grew naturally out of my training as a pianist. I am now a musicologist by profession, specializing in British and other symphonic music of the 19th and 20th centuries. My scholarly work has been published in major music journals, as well as in other outlets. Current research focuses include twentieth-century symphonic historiography, and the music of Jean Sibelius, Ralph Vaughan Williams, and Malcolm Arnold.

I am honored to contribute writings to Classical Candor. In an age where the classical recording industry is being subjected to such profound pressures and changes, it is more important than ever for those of us steeped in this cultural tradition to continue to foster its love and exposure. I hope that my readers can find value, no matter how modest, in what I offer here.


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.

Mission Statement

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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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa