OCTOBER 2023 | Joyas recuperadas de la música española | Trio Salduie | Delicias Discograficas DCD143

OCTOBER 2023 | Joyas recuperadas de la música española | Trio Salduie | Delicias Discograficas DCD143

by RAY PICOT

The title of this album, Joyas recuperadas de la música española, is quite apposite, as the music played here is a delightful collection of eight rare Spanish gems, mostly rooted stylistically at the turn of the 20th century. These forgotten rarities, many of which are first recordings, were unearthed from Spanish libraries and archives. Despite their unfamiliarity, presented and played so sympathetically as they are here, this recital is a pleasure to explore from beginning to end.

Historically speaking it took several years into the last century before the Spanish public were won over from their beloved guitar and zarzuelas to the piano and chamber music. In addition audiences generally preferred smaller-scale characteristic pieces rather than large abstract works, so this album represents a very good snapshot of that time. Join Daniel Francés, violin, Nuria Gañet, cello and Consuelo Roy, piano, in the salon as they explore some ‘delicias españolas’ topped off by a mini-masterpiece by the teenage Ernesto Halffter.

The violinist and composer Mariano Perelló was a close friend of Isaac Albéniz, and is better known as a founder member of the Barcelona Trio which toured internationally. First performed in 1922 by his trio, the Tres impresiones clearly pays homage to his friend with the opening movement Pensando en Albéniz. Overall the work evokes the sounds and spirit of Andalucia with much that is memorable, particularly when played with such a sense of joie de vivre.

We next hear two pieces by Basque composers who were better known for their operatic work. Although Aureliano Valle was famous during his life as an organist and he clearly understands the chamber idiom, with this charming little Nocturno, which is believed to have originated from a now lost zarzuela of 1906.

The feeling of nostalgia is carried onto the dance floor by Valentín de Zubiaurre with his waltz, Una siesta, which enjoyed some popularity in its time judging by the different arrangements he made. The waltz theme continues with Maripalar, from Josep Sancho Marraco, clearly written in a moment of leisure as his main job was as a chapel master in the Barcelona cathedral. The salon mood is given a more modern twist with a foxtrot, titled Spring, in the hands of Ricardo Lamotte de Grignon, who like his friend Marraco, was part of the Catalan group “Los ocho”.

The refined music of José María Sanmartín, who studied with Honegger and died in 1977, has slipped from public recognition and record companies alike, so the inclusion of this trio of works is very welcome. Sanmartin was resident pianist for the RTVE orchestra and appropriately played in a successful piano trio. These attractive if undemanding pieces are performed with a light touch by the Trio who take us on a short journey from Vasconia with some variations from the Agur Jaunak, to Tenerife with a lullaby and finally to Andalucia with variations on the popular folksong El Vito.

Pablo Sorozábal made his name through theatrical music, and his work continues to be performed today. While studying in Leipzig, he was inspired to write some purely instrumental pieces based on Basque folksongs. The orchestral works are better known than the few chamber works, one of which is played here, the Dos piezas sobre cantos vascos. The Trio respond with unfailing charm to this is attractive music; the wistful Children’s Tears followed by the more vigorous Birdsong.

Although the final piece was written between 1922 and 1923, about the same time as Sorozábal’s pieces, it could not sound more different. In Hommages (Petite suite pour trio) the 17 year old Ernesto Halffter pays tribute to four luminaries of his time who’s music clearly impressed him: Poulenc, Stravinsky, Salazar and Debussy. This suite proved to be Halffter’s erudite introduction to Falla a year later, who wrote “Bravo” by hand against one of them, and lead to Halffter becoming his pupil and collaborator. Inexplicably the suite was forgotten by the composer and was given its first public performance by the Mompou Trio in 1991. It is a brilliant work in the neo-classical idiom and deserves a revival.

Throughout this album the performances are unfailingly engaging by the Salduie Trio, a group of musicians who came together in 2000, and whose performances clearly convey their love of this music. It was a bold move to commit to disc of almost all unknown music, but one that pays off through the Trio’s choices and performances, which could hardly be bettered. The recording itself is excellent, with authoritative booklet notes in Spanish from José Luis Temes, though the Trio have kindly sent me an English translation if required.


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News News Archive Concert Reviews CD Reviews Musicology Newsletter	OCTOBER 2023 \| Joyas recuperadas de la música española \| Trio Salduie \| Delicias Discograficas DCD143 OCTOBER 2023 \| Joyas recuperadas de la música española \| Trio Salduie \| Delicias Discograficas DCD143 by RAY PICOT The title of this album, Joyas recuperadas de la música española, is quite apposite, as the music played here is a delightful collection of eight rare Spanish gems, mostly rooted stylistically at the turn of the 20th century. These forgotten rarities, many of which are first recordings, were unearthed from Spanish libraries and archives. Despite their unfamiliarity, presented and played so sympathetically as they are here, this recital is a pleasure to explore from beginning to end. Historically speaking it took several years into the last century before the Spanish public were won over from their beloved guitar and zarzuelas to the piano and chamber music. In addition audiences generally preferred smaller-scale characteristic pieces rather than large abstract works, so this album represents a very good snapshot of that time. Join Daniel Francés, violin, Nuria Gañet, cello and Consuelo Roy, piano, in the salon as they explore some ‘delicias españolas’ topped off by a mini-masterpiece by the teenage Ernesto Halffter. The violinist and composer Mariano Perelló was a close friend of Isaac Albéniz, and is better known as a founder member of the Barcelona Trio which toured internationally. First performed in 1922 by his trio, the Tres impresiones clearly pays homage to his friend with the opening movement Pensando en Albéniz. Overall the work evokes the sounds and spirit of Andalucia with much that is memorable, particularly when played with such a sense of joie de vivre. We next hear two pieces by Basque composers who were better known for their operatic work. Although Aureliano Valle was famous during his life as an organist and he clearly understands the chamber idiom, with this charming little Nocturno, which is believed to have originated from a now lost zarzuela of 1906. The feeling of nostalgia is carried onto the dance floor by Valentín de Zubiaurre with his waltz, Una siesta, which enjoyed some popularity in its time judging by the different arrangements he made. The waltz theme continues with Maripalar, from Josep Sancho Marraco, clearly written in a moment of leisure as his main job was as a chapel master in the Barcelona cathedral. The salon mood is given a more modern twist with a foxtrot, titled Spring, in the hands of Ricardo Lamotte de Grignon, who like his friend Marraco, was part of the Catalan group “Los ocho”. The refined music of José María Sanmartín, who studied with Honegger and died in 1977, has slipped from public recognition and record companies alike, so the inclusion of this trio of works is very welcome. Sanmartin was resident pianist for the RTVE orchestra and appropriately played in a successful piano trio. These attractive if undemanding pieces are performed with a light touch by the Trio who take us on a short journey from Vasconia with some variations from the Agur Jaunak, to Tenerife with a lullaby and finally to Andalucia with variations on the popular folksong El Vito. Pablo Sorozábal made his name through theatrical music, and his work continues to be performed today. While studying in Leipzig, he was inspired to write some purely instrumental pieces based on Basque folksongs. The orchestral works are better known than the few chamber works, one of which is played here, the Dos piezas sobre cantos vascos. The Trio respond with unfailing charm to this is attractive music; the wistful Children’s Tears followed by the more vigorous Birdsong. Although the final piece was written between 1922 and 1923, about the same time as Sorozábal’s pieces, it could not sound more different. In Hommages (Petite suite pour trio) the 17 year old Ernesto Halffter pays tribute to four luminaries of his time who’s music clearly impressed him: Poulenc, Stravinsky, Salazar and Debussy. This suite proved to be Halffter’s erudite introduction to Falla a year later, who wrote “Bravo” by hand against one of them, and lead to Halffter becoming his pupil and collaborator. Inexplicably the suite was forgotten by the composer and was given its first public performance by the Mompou Trio in 1991. It is a brilliant work in the neo-classical idiom and deserves a revival. Throughout this album the performances are unfailingly engaging by the Salduie Trio, a group of musicians who came together in 2000, and whose performances clearly convey their love of this music. It was a bold move to commit to disc of almost all unknown music, but one that pays off through the Trio’s choices and performances, which could hardly be bettered. The recording itself is excellent, with authoritative booklet notes in Spanish from José Luis Temes, though the Trio have kindly sent me an English translation if required. Site design and content copyright © 1998-2023 The Iberian and Latin American Music Society, all rights reserved. ILAMS is a registered charity, No. 1092749