NOVEMBER 2018 | Antón García Abril | Concierto de la Malvarrosa | Autor SAO1088 / Bolamar Ediciones Musicales

NOVEMBER 2018 | Antón García Abril | Concierto de la Malvarrosa | Autor SAO1088 / Bolamar Ediciones Musicales

By RAY PICOT

With Autumn upon us I thought it would be good to look back to warmer times, and specifically Malvarossa beach in Valencia as visualised by the eminent Spanish composer, Anton García Abril, who is 85 this year.

For those not wholly familiar with Abril, his musical education took him from Madrid to Siena and Rome, including composition, conducting and film music, which latterly led to a very successful series of scores for television and film (including ‘spaghetti' westerns) between 1962 and 1984. However, he never turned his back on more formal composition, having written extensively in all musical forms, as well as being in demand as a conductor. Abril’s essentially tonal compositional style is refined, and is often described as evolutionary, with a natural balance between harmony and development. Whilst many of his avant-garde generation have achieved wider international recognition, there has always been a consistent appreciation of Abril in his own country, having also received many important awards, so it seems somewhat overdue to promote his music. His skillful use of timbre as a key compositional component can be best appreciated in Abril’s orchestral and concertante works, which are well represented on this album.

There are three well-contrasted pieces on this album, though the first two are clearly inspired by seascapes. The beautifully scored Concierto de la Malvarossa, written in 2001, opens with an evocative ‘heat’ haze on the solo flute, before being joined by its solo partner, the piano, and the strings. Already, the composer’s subtle use of timbral effects evident in what for me is more of a concertante piece that a concerto, particularly in the quasi-impressionist way in which the instruments’ sonorities are offset and blended. The melodies emerge from the entwined harmonies, which are treated to very subtle elaboration without losing touch with the original ideas. The piano frequently doubles with the orchestra giving the strings added weight when needed. The deft instrumental dialogue is most engagingly handled in the second movement, with echoing phrases of bird-like song which remind one of the quieter moments of Messian’s Turangalîla Symphony. This movement grows out of the first without a break, and the finale follows similarly, with the musical ideas continuing to delightfully engage, building a gradual momentum to the concerto’s graceful conclusion. The composer leads this performance with a sure hand, as the two soloists, Maria Antonio Rodríguez (flute) and Aurora López (piano) respond to perfection, completely in tune with the poetic ideas that imbue this delightful score, supported by an excellent Orquesta Filarmónica de Málaga.

The strings open the next piece, the Cantos de Pleamar, in a score which unfolds into a series of songs for an orchestra of strings. Written in 1993, alongside two song cycles, the work has a more diffuse atmosphere, and is less a series of individual pieces and more a carefully evolving sequence of moods, with overall a more restrained emotional impact. It is a most attractive work nonetheless, and avoids any unnecessary gestures.

This is followed by the delightful Canciones y danzas para Dulcinea, which dates from 1985, being a suite developed from the music written for Thames Television celebrating Cervantes’ Don Quixote, and scored for full orchestra. This is music which yet again demonstrates the composer's light touch, with a perhaps a nod towards Rodrigo. The suite comprises 8 short pieces which contain a more Spanish flavour than the other works on this album, with each movement given enough space to develop without outstaying its welcome. The lyrical nature of the material gives a balletic feel to the music, which maintains a consistency in mood, though not at the expense of variety. Overall an enjoyable work that provides a good balance to the whole album.

Further listening

The UK CD catalogue of Abril’s music is somewhat lacking, considering how prolific this composer has been. Yet just over 10 years ago Autor collected a magnificent box-set of 12 recordings which clearly demonstrated the composer’s originality and included this recording. It is available separately now, though you may find it easier to locate it through streaming and downloads. I note that, for example, iTunes, Amazon and Presto Classical offer a good selection of his major works in excellent recordings. These include Abril’s solo guitar music which is very fluently written for this instrument, as are his two named guitar concertos. However, the piece I’d recommend is the more challenging but brilliantly conceived Variaciones concertantes, which combines the strengths of the composer’s orchestral and concertante writing. It represents a modern approach to a classic form that cannot fail to intrigue and impress, coupled with a short cantata and atmospheric orchestral piece.

Verso VRS 2145, Variations, Antoni Ros Marba, Real Filharmonia de Galicia.

 

 

 

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