Enrique Granados - Complete Songs (Various Artists)

Information

Composer: Enrique Granados

CD1

1. Yo no tengo quien me llore
2. Canción (Por agua fui a la fuente)
3. Si al retiro me llevas (Tonadilla)
4. Cantar I (Día y noche Diego ronda)
5. Canto gitano
6. Por una mirada, un mundo
7. Serenata
8. Canción del postillón
9. Tonadillas al Estilo Antiguo: No. 8. La maja de Goya
10. Tonadillas al Estilo Antiguo: No. 3. El majo discreto
11. Tonadillas al Estilo Antiguo: No. 7. El tralalá y el punteado
12. Tonadillas al Estilo Antiguo: No. 5. El majo timido
13. Tonadillas al Estilo Antiguo: No. 9. La maja dolorosa: I. Oh, muerte cruel!
14. Tonadillas al Estilo Antiguo: No. 9. La maja dolorosa: II. Ay majo de mi vida!
15. Tonadillas al Estilo Antiguo: No. 9. La maja dolorosa: III. De aquel majo amante
16. Tonadillas al Estilo Antiguo: No. 6. El mirar de la maja
17. Tonadillas al Estilo Antiguo: No. 1. Amor y odio (Love and Hate)
18. Tonadillas al Estilo Antiguo: No. 2. Callejeo
19. Tonadillas al Estilo Antiguo: No. 10. La currutacas modestas
20. Tonadillas al Estilo Antiguo: No. 4. El majo olvidado

CD2

1. La Boira
2. Cançó de Gener I
3. Balada
4. Lo rei i el joglar
5. L'ocell profeta
6. No m'enterreu al cementiri
7. Cançó d'amor
8. Escenes de l'exili
9. Cançó de Gener II
10. Cançoneta
11. Elegia eterna
12. Vita nuova
13. Mignon
14. Canciónes amatorias: No. 4. Mira que soy niña
15. Canciónes amatorias: No. 2. Mañanica era
16. Canciónes amatorias: No. 6. Iban al Pinar (Serranas de Cuenca)
17. Canciónes amatorias: No. 7. Gracia mía
18. Canciónes amatorias: No. 1. Descúbrase el pensamiento
19. Canciónes amatorias: No. 3. Llorad, corazón (Lloraba la niña)
20. Canciónes amatorias: No. 5. No lloréis, ojuelos

Elena de la Merced, soprano

Carol García, mezzo-soprano

David Menéndez, baritone

Rubén Fernández Aguirre, piano

Date: 2017

Label: IBS

-----------------------------------------------------------

Review

The words of pianist Rubén Fernández Aguirre, which appear in the booklet of the double CD, are very enlightening about what this recording represents: “The principal value of this recording lies in the presentation of eight songs that have not been recorded before, even though it may seem unbelievable when speaking of one of our most universal composers.” Specifically, the pianist of singers and the driving force behind this project refers to Vita nuova, premiered in June of last year; Mignon, the only song in French; La canción del postillón (“The Postilion’s Song”); and five of the eleven Catalan songs: Lorei i el joglar, Cançó de Gener II, Balada, Escenes de l’exili, and No m’enterreu al cementiri.

This complete collection of Granados’s songs for piano and voice, faithful to the original vocal ranges, takes as its reference the edition prepared by Manuel García Morante, published in 2006. The recording took place at the Auditorio Manuel de Falla in Granada from June 12 to 15 and on September 1, 2, and 26, 2016, for the Ibs Classical label, and it was released in December 2016.

The first CD includes eight songs in Spanish and the Tonadillas en estilo antiguo. Among the former, one should highlight the full-bodied, harmonically rich singing of mezzo-soprano Carol García, and the nuanced, declamatory style of soprano Elena de la Merced. The relationship that Rubén Fernández Aguirre establishes with the voices—the degree of rapport reached between them and the piano—is a constant throughout both discs. In the case of the mezzo’s performances, it seems as if both instruments wrap themselves around each other, as can be heard in the opening Yo tengo quien me llore or in the ease with which rhythm and melody intertwine in Canto gitano.

In the Tonadillas en estilo antiguo, the soprano—guided by a strong musical sensibility—manages to give each song a varied expressive intent, revealing the greatness of simplicity. A good example is her delivery of Fernando Periquet’s text in La maja de Goya y sus majos—discreet and shy—where piano and singer play with accents and dynamic changes, producing subtle shades in songs like El Tralalá y el punteado. In Las majas dolorosas, Carol García brings a veiled sense of drama. For Las currutacas modestas, the original version for two voices is used; soprano and mezzo sing in perfect ensemble, while subtle expressive details highlight the contrast in their timbres.

On CD 2, the listener encounters the Catalan songs—examples of aesthetic depth, full of surprising harmonies. La boira fits very well with David Menéndez’s convincing, powerful voice, just as he delivers finely shaded half-tones in No m’enterreu al cementiri, arguably his two most accomplished performances along with Vita nuova. Carol García’s voice exudes poetic charm in Cançó d’amor, amid a lyrical atmosphere created by the piano, which in Escenes de l’exili both turn into melancholy and later, into tenderness in Dorm, nineta, dorm. In Elegía eterna, the soprano stands out for her evocative approach to the vocal lines and the character she gives the piece. Vita nuova and Mignon are imbued with the best of opera, with the mezzo bringing to Mignon a most appealing cantabile quality.

In the Canciones amatorias, Elena de la Merced bases her interpretation on suggestion—certain rubatos, the way she attacks a note softly and lets the sound expand (which goes beyond mere accentuation), along with a diction that allows her to play with the meaning of words. Meanwhile, Rubén Fernández Aguirre delves deeply into the possibilities Granados offers the pianist.

Beyond interpretive evaluations of these forty songs, we return as our final argument to the closing paragraph written by Manuel García Morante in the booklet accompanying the double CD: “Granados liked to hear his works performed in different versions, so he would surely celebrate this recording, which bears witness to the renewed interest his music continues to inspire in new generations.”

— Agustín Achúcarro

-----------------------------------------------------------

Enrique Granados (27 July 1867 – 24 March 1916) was a Spanish composer and pianist from Catalonia. A student of Felipe Pedrell, he rose to prominence with his Danzas españolas and soon established himself as one of Spain's foremost pianists. In addition to his celebrated piano works, Granados also composed several operas and founded a piano academy in Barcelona. Deeply influenced by 18th-century and Spanish artistic traditions, he created the renowned Goyescas, inspired by the paintings of Francisco Goya. Granados's life ended tragically when the Sussex was torpedoed during his return voyage from New York.

-----------------------------------------------------------