Isaac Albéniz; Joaquín Turina - Guitar Works (Manuel Barrueco)

Information

Composer: Isaac Albéniz; Joaquín Turina

• Albéniz - Suite española, Op. 47 (arr. Barrueco)
• Turina - Fandanguillo, Op. 36
• Turina - Sevillana (Fantasia), Op. 29
• Turina - Ráfaga, Op. 53
• Turina - Homenaje a Tárrega, Op. 69
• Turina - Sonata, Op. 61

Manuel Barrueco, guitar

Date: 1992

Label: EMI

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Review

Albeniz on the guitar is neither a new nor an inappropriate concept, ever since Albeniz himself set the seal of approval on Tarrega's arrangements of his works, guitarists have declared open season on his piano music, but, since it is only in recent years that they have embraced the notion of 'integrality'—and some pieces are much harder to play than others, they have continued to pick on the softer targets. The whole of Albeniz's Suite espanala has been transferred to one or more guitars, but to the best of my knowledge it has been recorded in its entirety by only one other guitarist, the German Michael Troster (Harmonia Mundi). Whilst Troster adheres to the original order, Barrueco changes it considerably, but only in one item ''Cuba'' do they differ significantly in tempo—both sound comfortable, but Barrueco is Cuban by birth and may be closer to the 'truth'! To arrange something is one thing, to play it as freely as the music requires may be quite another; had Albeniz heard Barrueco, one of the cleanest technicians and aristocratically poised interpreters of such music the guitar has, he might truly have believed that it sounds 'better' (or, allowing for over-enthusiasm, 'just as good') on the guitar. Pianists, no less than guitarists, might learn from this recording.

What would on an LP have been the 'B side' is another 'integral', all five of Turina's works for the guitar. Like Albeniz's piano music they are a 'celebration' of Spain, but written for the guitar—and with the benefit of Segovia's assistance—rather than with it in the subconscious. All have been recorded many times, but Barrueco's playing of them sets the benchmark at which others will have to aim for a long time to come. The superb recording does full justice to every nuance of Barrueco's gorgeous tone, just one facet of his mastery.

— John Duarte

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Isaac Albéniz (29 May 1860 – 18 May 1909) was a Spanish composer and virtuoso pianist. A prodigy who performed from age four, he studied in Leipzig and Brussels before teaching in Barcelona and Madrid. Initially known for light salon music, Albéniz began serious composition around 1890 under the guidance of Felipe Pedrell. He later settled in Paris where he was influenced by French composers such as Dukas and d'Indy. His works vividly capture the spirit of Spain through folk-inspired melodies and rhythms, with his masterpiece Iberia (1905–09) hailed as one of the greatest piano compositions ever written.

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Joaquín Turina (9 December 1882 – 14 January 1949) was a Spanish composer. He pursued his early studies in Seville and Madrid before relocating to Paris in 1905, where he trained under Moritz Moszkowski and Vincent d'Indy. Influenced by Isaac Albéniz, Turina developed a distinctly Spanish idiom that combined Andalusian folk traditions with French impressionism. His music frequently pays homage to his native Seville, like in Sinfonía sevillana and Canto a Sevilla. Known for orchestral pieces such as Danzas fantásticas and La oración del torero, Turina also composed operas, songs, piano miniatures and chamber music.

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Manuel Barrueco (born 16 December 1952) is a Cuban guitarist. He studied guitar at the Esteban Salas Conservatory before emigrating to the U.S. in 1967. A graduate of the Peabody Conservatory, where he now teaches, Barrueco has performed with major orchestras such as the Philadelphia Orchestra and Boston Symphony, appearing in renowned venues worldwide, including London's Royal Albert Hall and Vienna's Musikverein. His extensive discography with EMI includes acclaimed recordings like Concierto de Aranjuez and ¡Cuba!. He has also been featured on international television like PBS, NHK and RTVE.

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