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Joaquin TURINA (1882–1949)
Songs
Homenaje a Lope de Vega, Op. 90 [6:08]
1. I. Cuando tan hermosa os miro ... [2:08]
2. II. Si con mis deseos ... [1:51]
3. III. Al val de Fuente Ovejuna ... [2:09]
Poema en forma de canciones, Op. 19 [10:25]
4. I. Dedicatoria [2:34]
5. II. Nunca olvida ... [2:08]
6. III. Cantares [1:51]
7. IV. Los dos miedos [2:28]
8. V. Las locas por amor [1:24]
Dos canciones, Op. 38 [8:09]
9. I. Preámbulo – Lo mejor del amor [4:07]
10. II. Cunas [4:02]
Tres poemas, Op. 81 [7:26]
11. I. Olas gigantes [3:04]
12. II. Tu pupila es azul [2:10]
13. III. Besa el aura [2:12]
Tres sonetos, Op. 54 [6:20]
14. I. Anhelos [2:25]
15. II. ˇVade retro! [1:57]
16. III. A unos ojos [1:58]
Tres arias, Op. 26 [12:41]
17. I. Romance [5:56]
18. II. El pescador [4:42]
19. III. Rima [2:03]
Vocalizaciones, Op. 74 [8:27]
20. Introducción [1:46]
21. II. Allegro moderato [0:53]
22. III. Allegretto [1:06]
23. Interludio. Quasi Andantino [0:38]
24. IV. Allegro vivo [0:50]
25. V. Adagio [1:42]
26. VI. Allegro [1:32]
Ave Maria, Op. 95 [2:43]
27. Andante [2:43]
Triptico, Op. 45 [9:12]
28. I. Farruca [3:02]
29. II. Il Cantilena [3:51]
30. III. Madrigal [2:19]
Carolina Ullrich (soprano), Débora Halász (piano)
rec. Studio I, Bayerischer Rundfunk, Munich, Germany, 9-12 June,
2009 (tr. 1-27), 3 October 2009 (tr. 28-30)
Available sung texts and translations in English and German can
be accessed at www.naxos.com/libretti/570707.htm
NAXOS 8.570707 [71:29] 
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Albeniz, Granados, de Falla and Joaquín Turina belonged among
the most important and influential of Spanish composers during
the first half of the 20th century. Turina, he youngest
of the four, produced works in most genres: orchestral, chamber,
piano, guitar, a couple of operas and quite a number of songs.
Like de Falla he went to Paris in the early 20th
century and was influenced by Debussy and Ravel. On returning
to Spain he searched for his inspiration amid traditional Andalusian
music.
The songs on this disc span a period of more than ten years,
from Poema en forma de canciones and Tres arias,
both appearing in 1923, to Homenaje a Lope de Vega, arguably
his best known work, which was composed in 1935.
He changes little during this period – and why should he? He
was past forty in 1923 and had found his expressive means, so
all of these songs were written by a mature composer at the
height of his powers. Generally speaking he strikes a perfect
balance between the vocal part and the piano line, which rather
than being mere accompaniment is often independent. He excels
in preludes and interludes that are real challenges for a great
pianist. Listen to the colourful and expressive piano part in
Dos canciones, Op. 38 (tr. 9-10). This is inspired and
inspirational music and Débora Halász makes the most of it.
The singer, Carolina Ullrich, is also an inspired choice for
this recital. Born in Chile she is now a permanent member of
the Semper Opera in Dresden, where she this season sings roles
like Gretel and Zerlina. She has a bright lyrical voice, slightly
edgy at times but also with warm tone. She is a lively and expressive
singer. I can imagine her being a superb Zerlina.
Looking more specifically at the songs themselves, the opening
Homenaje a Lope de Vega were certainly inspired by the
poems of one of the truly great Spanish literary figures. The
little trilogy must be counted among his best works. The much
earlier Poema en forma de canciones is just as satisfying
and the last of the five songs, Las locas por amor, struck
me as especially successful. That’s one of the songs I have
marked with red in my notes as an aide-memoire for returning
to it – why not in order to introduce someone to the world of
Turina.
The last of the Tres poemas, Op. 81, Besa el aura
is another potential hit. I can’t withstand the temptation to
quote the sensual poem:
The gentle breeze, softly murmuring, kisses
the placid waves, sending playful ripples across them;
the sun kisses the cloud in the west
and tinges it with purple and gold;
The flame slides around the burning log
to kiss another flame,
and even the willow, bending beneath its own weight,
to the river that kisses it, gives a kiss in return.
No wonder Turina penned one of his loveliest melodies to
these words!
The Tres sonetos, Op. 54 are also inspired. Who can sit
still while listening to the dancing ˇVade retro!? Wow!
But the whole group is really good. The Tres arias, Op.
26 are, naturally enough, on a somewhat grander scale and once
again Turina creates melodies that stick. Vocalizaciones
consists of some delicious miniatures, displaying differents
aspects of the abilities of the human voice when there is no
need to articulate words. The last of them is a coloratura show-piece.
Technical accomplishment as well as wide vocal range are also
requirements for the concluding Triptico but the most
enduring song is the soft, transparent Ave Maria (tr.
20). It is like a feather – from God? – on which the singer
breathes gently. It responds by creating a kaleidoscope of pastel
visions. A whispered breeze directly from the Virgin Mary’s
lips reaches the listener. Gems need not sparkle but a gem it
is, this unpretentious Ave Maria. I envy all of you who
have not yet experienced its enchantment. Those of you who are
already under the Turina spell won’t need any further sales
promotion tricks from me to invest in this super budget issue.
Göran Forsling
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