MARCH 2020 | Isabel Martínez | Noche andaluza | Brise B191001

MARCH 2020 | Isabel Martínez | Noche andaluza | Brise B191001

By RAY PICOT

Tárrega is for many the beating heart of Spanish music, and as I listened to Isabel Martínez’s caressing tones in Capricho Arabe, the inimitable Andalusian light was brought into focus on this dull winter’s day. This poetic illusion flowed into Recuerdos de la Alhambra, with the characteristic tremolos rippling gently, not too fast, to take in Tarrega’s vision, breathing in gently the light and sounds of his beloved Andalusia. The journey continues with excellent arrangements of music inspired by the guitar, but written for the piano, through Granados’ 5th Spanish Dance, Andaluza and Albéniz’ Granada. These little tone poems so perfectly conjure up the sights and sounds of Southern Spain in Martínez’ hands. She takes great care in her phrasing, but never at the cost of spontaneity; where there is beauty she knows how to savour it, allowing the phrases to open up, and perhaps linger, without losing the music’s natural flow.

Martínez’ consummate artistry and wonderful tone colouring, does not preclude a keen sense of the dramatic, which we can hear with the programme’s opening piece, Turina’s magnificent Guitar Sonata. Her timing is more considered compared to some alternative readings, but this works very well in the three movement sonata, where there is no doubting her virtuosity and clear vision. The latter is essential for this complex piece, (premiered but never recorded by Segovia) where Turina seeks to balance the improvisational nature of popular music with cyclic form. Martínez gets to the heart of this music marvellously, and allows the finale to burst out of the more subdued earlier movements, making a thrilling finish.

Another major work at the heart of the Spanish guitar repertoire is Rodrigo’s Invocacion y Danza; a piece quoting and inspired by Manuel de Falla, full of traps for the unwary, with wide expressive demands and complex passagework. This piece contrasts very well with the shorter more reflective pieces, and is executed with consummate naturalness and skill.

The last composer we encounter, Regino Sainz de la Maza was connected to Rodrigo, for whom he gave gave the premiere of his Concierto de Aranjuez. Unlike his brother Eduardo, Regino was better known as a performer, but also wrote attractive miniatures inspired by Andalusian and Castillian folksong. The recital ends with two picturesque flamenco-inspired pieces, Rondeña and Zapateado. Perhaps not the greatest music, they are very immediate and evocative, and are executed with great élan by Martínez, who’s innate Spanish sound brings out the best in these pieces.

This recital disc Noche Andaluza, whilst containing many familiar pieces, is very put together, and is most enjoyable for both the quality of the music selected and the sheer musicality of the performer, who also enjoys the highest technical skills. Isabel Martínez is clearly an exceptional talent, and one we can hope to enjoy live, in the future. The recorded sound is both clear and natural too, adding to the pleasure of this album. The booklet notes are most interesting too, translated into English by our own Helen Glaisher-Hernández. The CD can be ordered direct from the artist at: isabelmartinezguitar.com

 

 

 

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