DECEMBER 2020 | Francisco Correa | Música de la Tierrita | AM Records AMD005

DECEMBER 2020 | Francisco Correa | Música de la Tierrita | AM Records AMD005

BY RAY PICOT

Most artists will ruefully remember 2020 as the year of COVID-cancelled concerts! Whilst artists have responded with some inventive solutions to reach their audiences, we hold onto our memories of the atmosphere of those live events we attended, with the hope of better times. The last concert ILAMS hosted before lockdown was given by the young Colombian guitarist Francisco Correa, at St. James’s Piccadilly. The concert was especially memorable as it launched Francisco Correa’s his solo debut album Música de la Tierrita, which has turned out to be one of my favourite new recordings.

Correa’s qualities as a subtle and expressive guitarist, were self-evident in the concert, and are showcased in this album, having no doubt been perfected through his evident versatility as a concert soloist, recitalist, and chamber musician. You can find out more on his interesting website franciscocorreaguitar.com 

But what of Colombian composers? Art music from Colombia has never achieved the degree of international popularity as that from say Argentina and Brazil. Whilst this is not the place to analyse the reasons for this, there has been a vibrant music culture since conquest times, and in the last century two of the country’s most important composers were Adolfo Mejia Navarro and Guillermo Uribe-Holguin. There are few commercial recordings in circulation, so check their vital music out on the internet. However, change is in the air as a new generation composers strike out with fresh ideas that continue to connect with the well-spring of Colombian tradition, supported by some excellent new recordings.

Música de la Tierrita, put simply, is a collection of music that evokes Correa’s homeland and more specifically Boyacá, where in more turbulent times the people won famous victories on the road to independence. The region lies mostly in the Andean Cordillera Oriental mountain range, with its lush green countryside and rolling hills. One can feel the strong connection between guitarist and the three composers featured in this collection, particularly as they all hail from this region. As Francisco Correa explained to me, the local music shares a good deal of the folklore and music from the other regions located in the mountains, rather than the twin coastlines. Naturally the spirit of dance infiltrates much of this music, like the pasillo, guabina and of course the ever popular bambuco.

We are treated to a tapestry of engaging pieces, most of which are World premiere recordings, written by three up and coming young composers, Juan Carlos Guio and the twin brothers Daniel and Lucas Saboya, who Francisco Correa knows well.

Though an easy going lyricism underpins this music, the writing can be quite virtuosic and complex, so requires understanding and a consummate technique, which are qualities Correa has in abundance. The album features two evocative suites, each having four movements, which all have characteristic titles, several of which would certainly stand alone in concerts. I was particularly drawn to the excellent Guabina para un Músico del Sur, from the Suite Colombiana No.1, written by the composer/guitarist Daniel Saboya. This inventive music bodes well for future instalments, and should not be confused with suites bearing the same title as his older compatriot Gentil Montaña. The suite ends brilliantly with the virtuosic Un Viejo Fox.

Juan Carlos Guío, was born 10 years earlier than the Saboya twins, in 1970, and has a well established reputation in his country. Correa gives the first recorded performance of a collection of three nicely contrasted pieces. The opening work Como un Cristal is like a song without words, and is quite memorable in the same way as the music of Barrios or Lauro. This is followed by Nancy and Cacao, the latter being a classic bambuco, and show a great deal of character and individuality, particularly when played this well.

Lucas Saboya, like his brother, is a composer/guitarist, and is represented by his memorable Suite Ernestina. Though this has been previously recorded, Correa’s performance really gets to the heart of the music, with a superb choice of tempi, played with both virtuosity and subtlety. The music has strong family connections, having been inspired by the composer’s grandmother Ernestina Vargas de Saboya, and written for his brother. The first movement title translates as Seamstress, the second is based on the guabina dance, the third refers to Ernestina’s sons and daughters and the finale is another dance, the Argentine zamba.

The recording was made at Coytrahen House near Bridgend far from the guitarist’s homeland, in an excellent acoustic, which gives the guitar sound an attractive bloom. This album the deserves the widest currency in its own right musically, but also as a persuasive advocate of new music from Colombia. My only qualm is the limited notes provided on the music and the composers, but more can be found out through the guitarist’s own website with its links to music samples. This also gives you the links to purchase the album either as a download or CD. I also recommend you further investigate the work of the Saboya bothers:  danielsaboyamusic.com and Lucas’ YouTube channel youtube.com/channel/UCjiEhJO7DBQzp_4uHzQ

 

 

 

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