This new release of
guitarist Fernando Espi by Verso is
a prime example of why sometimes you
can "judge a book by its
cover." Superbly packaged, the
slipcover and liner-notes booklet are
adorned with a beautiful painting (En
el patio by Ricardo de Nadrazo,
1852-1917) of a young female guitarist
resplendent in the attire of Tarrega's
times. These visual delights in
no way belie the aural
treasures to be found "inside".
The twenty-nine tracks
on this disc are all original compositions
by Franciso Tarrega. No name in the
history of the classical guitar engenders
more reverence than that of Tarrega
who was born in 1852. By that time Giuliani,
Sor, Aguado and Carulli were all deceased
and the guitar was at the end of an
era of splendour. Often referred to
as the "modern awakener of the
guitar", Tarrega initiated a renaissance
that augured well for the modern era
championed by Andrés Segovia.
Tarrega was a prolific
composer. His output includes some very
beautiful miniatures. There are also
arrangements of music by Bach, Beethoven,
Schumann, Schubert and Albéniz
to compensate for deficiencies in the
then extant guitar repertoire. His technical
innovations form the basis of modern
technique.
Fernando Espi has a
very "period " approach to
this music. There is strict attention
to detail of the original music exemplified
by playing of all glissandos. By modern
standards these are often ignored or
used very selectively.
The instrument used
is by luthier Joaquin Garcia and is
similar in design to the Antonio Torres
guitars played by Tarrega. Mr. Espi
describes the sound as ‘sweeter and
velvety and albeit it with nylon strings
seeks to emulate the sound Tarrega,
with finger tips only, obtained on gut
strings". Some sources indicate
that Tarrega did not employ fingernails
when sounding the strings because his
own were so thin and brittle as to be
dysfunctional. Others indicate that
the use of fingertips alone was based
exclusively on preference.
Fernando Espi is a
fine guitarist and gives a good account
of himself both technically and musically.
Rather slavish adherence to "period"
interpretation appears to be at the
expense of not always responding to
invitation for virtuosic display. The
Danza Mora [25] is played in a rather
stiff and reserved way that is not evocative
of the title. Anna Vidovic [Naxos 8.5545563]
and Alirio Diaz [Vanguard 08-919472]
both capture the true spirit of a "Danza
Mora" and accept the opportunity
to display credentials of the virtuoso
as provoked by the music
Recuerdos de la Alhambra
(Recollections of the Alhambra) is probably
the most famous piece of music ever
written for the guitar. Tarrega composed
this as a tremolo study - rapid repeating
of single notes on one string with the
right hand fingers. In addition to its
didactic objective it was written to
be evocative of the Alhambra at Granada,
the fortress-palace of the Moorish kings.
This piece of music is often played
at break-neck with any intended evocation
simply evaporating. Mr. Espi gets it
just right and played at a more desirable
speed [5:48] in some ways, it is more
technically challenging than when played
very quickly.
It is surprising that
the very famous "Estudio Brilliante
de Alard" was not included because
it is a treasure in every sense. Excluding
a couple of the more trivial compositions
([10], [15]) would have provided space.
On the other hand inclusion of the less
known but beautiful Estudio de Campanelas
[17] is modest compensation. In general
one must question the criteria for selecting
programme items. Within the corpus of
Tarrega's works are other items which
had they been included, the overall
result would be more pleasing.
There are sometimes
challenges in identifying the works
of Tarrega as no cataloguing or systematic
opus numbers exist. In this recording
some items, traditionally referred to
as "preludes", are identified
as "studies"- which in reality
they are. The recording of Tarrega's
works by Davis Russell [Opera tres DGC
1003/4] again illustrates this problem
where some works are simply identified
with a "dedication". Track
[35] which simply has the title "dedication
to B. Cramer" has eluded this writer
in printed form because the identification
is inadequate for publishers.
In 1991 the master
guitarist David Russell released 41
original Tarrega compositions on two
discs [Opera tres DGC 1003/4]. His approach
is very modern and in every sense the
playing is magnificent. It is against
such a well-established standard that
the recording by Fernando Espi will
be judged.
This new release is
beautifully presented and will have
special appeal to those with an appreciation
of original compositions by this famous
guitarist. Espi's capable approach is
very "period'. Some may prefer
the more "modern" exponents
such as David Russell.
Zane Turner
Fernando Espi (guitar) 
