APRIL 2023 | De Sonatas y Fandangos | Félix Máximo López | Mario Prisuelos | Cezanne CZ089
APRIL 2023 | De Sonatas y Fandangos | Félix Máximo López | Mario Prisuelos | Cezanne CZ089BY RAY PICOT
A vast amount of keyboard music was written in Spain during the 18th century and much of it remains unpublished and unperformed. A few recordings have surfaced over the years but they tend to be anthologies which mix Scarlatti and Soler with less familiar composers. These other composers for various reasons, remain neglected, so monographic discs like this one, which is dedicated to Félix Máximo López, offers a welcome opportunity to spread our musical net wider. In this case an Iberian journey from the musical influence of Scarlatti to Haydn.
Released to commemorate the bicentenary of the birth of Félix Máximo López, who lived from 1742 to 1821, this recording by the pianist Mario Prisuelos is particularly valuable as it offers a sympathetic snapshot of the composer’s music and influences, not least an interesting take on several Haydn’s symphonies.
Whilst there have been past recordings of this composer it is clear from his style and notation that he recognised the fortepiano as the keyboard instrument of choice. Whilst Prisuelos uses a modern piano he adopts a restrained approach and clearly being period-aware, he plays with very well articulated and expressive performance style.
Máximo López’s was in his time a notable composer, organist and theorist who ultimately achieved the position of first organist of the Royal Chapel. He lived a long life, and though the early sonatas bear the imprint of someone who was familiar with Scarlatti, it is clear he knew the prevailing central European classical style which he adapts most effectively to create some quite individual work.
Dances like the bolero and fandango were very popular In 18th century Spain and this album opens with the exuberant ‘Variations del fandango español’, suggesting a work for popular consumption. This piece shares the familiar baroque idiom of Scarlatti and Soler, and whilst it is not on the scale of the latter’s grand ‘Fandango’, it has a very attractive set of variations delivered here with panache.
We next hear Máximo López’s three multi-movement Sonatas, numbers 4, 9 and 15 which show a clear movement away from Scarlatti’s dominant single movement form. The last two of which are free adaptions of two of Haydn’s symphonies, which you do not need to know to enjoy. This borrowing was quite the rage at this time, and in this instance shows how widespread Haydn’s influence was, even penetrating the Iberian peninsular. I found these sonatas stood up very well to repeat playing, and come across as original keyboard works and not mere imitations, particularly when they are performed with such style and empathy by Prisuelos.
The collection is rounded off with the ‘Minuet Afandango Variations’, a work that has received several recordings, notably by Andrea Staier. Despite the reference to the fandango in the title this is quite a serious work, wholly classical in idiom, with a solemn opening prelude before opening out into an inventive set of variations. Fernando Sor also used the minuet on which this work is based in a set of variations for guitar, but this keyboard work offers quite a different approach, which is played here superbly.
I warmly recommend this album which is released on the Cezanne label from Spain and is available both digitally and on CD, with an excellent set of programme notes in both Spanish and English. The album is a triumph for all concerned with a very well recorded instrument. Mario Prisuelos has a very natural touch and though his repertoire is very wide ranging he has an excellent understanding for this music.
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