Aureole etc.




Golden Age singers

Nimbus on-line




Faure songs
Charlotte de Rothschild (soprano);

  Founder: Len Mullenger
Classical Editor: Rob Barnett


Some items
to consider

 


Enjoy the Gothenburg Symphony Orchestra wherever you are. App available for iOS and Android

Lyrita 4CDs £16 incl.postage

Lyrita 4CDs £16 incl.postage


Decca Phase 4 - 40CDs


Judith Bailey, George Lloyd


BAX Orchestral pieces


CASKEN Violin Concerto

Schumann Symphonies Rattle


Complete Brahms
Bargain price

 

REVIEW



Gerard Hoffnung CDs

Advertising on
Musicweb


Donate and get a free CD

New Releases

Naxos Classical

Hyperion

Musicweb sells the following labels
Acte Préalable
Alto
Arcodiva
Atoll
CDAccord
Cameo Classics
Centaur
Hallé
Hortus
Lyrita
Nimbus
Northern Flowers
Redcliffe
Sheva
Talent
Toccata Classics


Follow us on Twitter

Subscribe to our free weekly review listing
sample
 

alternatively
CD: MDT AmazonUK AmazonUS
Sound Samples & Downloads


Latin-American Music for Guitar
Manuel María PONCE (1882-1948)
Preludio [2:28]
Celedonio ROMERO (1913-1996)
Tango Angelita [2:23]
Leo BROUWER (b.1939)
Canción de cuna [4:46]
Manuel María PONCE
Guitar Sonata No.3: II. Chanson: Andantino molto espressivo [4:39]
Jorge MOREL (b.1931)
Al Maestro [10:08]
Agustín BARRIOS MANGORÉ (1885-1944)
La catedral [9:43]
Roberto CANTORAL (b.1935)
El reloj (arr. V. Coves) [3:31]
Celedonio ROMERO
Guasa [2:19]
Sebastián IRADIER (1809-1865)
La Paloma (arr. V.Coves) [5:59]
Vicente COVES (b.1982)
Chelitango [5:25]
Agustín BARRIOS MANGORÉ
Vals, Op.8 No.4 [5:41]
Ariel RAMIREZ (b.1921)
Alfonsina y el mar (arr. V. Coves) [3:28]
Ástor PIAZZOLLA (1921-1992)
Chiquilín de Bachín* (arr. V. Coves) [6:34]
Vicente Coves (guitar) with *Enrique Morente (vocal), *Horacio Ferrer (narrator) and *Esteban Ocaña (piano)
rec. 2009, Granada, Spain; *June 2005, Seville, Spain. DDD
NAXOS 8.572527 [67:04]

Experience Classicsonline


 
The key to this recording is in the small phrase that ends the booklet: “Vicente Coves wishes to dedicate this recording to his mother and the memory of his father”. For me it made everything clear. For the most part, this is a disc of tender, caring, quiet music - very beautiful and played with ultimate sensitivity and compassion. 
It starts with Ponce’s Preludio, which does not foretell what will follow. This piece, with the momentum of a Bach courante, stands apart from the rest, which is more relaxed, more melancholic, and more Latin. This is the short busy morning, which leads us into a long and quiet evening. There we hear another of Ponce’s creations, the beautiful, wistful Chanson from his Third Sonata; Coves sings every note.
 
There are two pieces by Celedonio (“Papa”) Romero. Guasa is like a big music-box: a mechanical melody spins over ostinato arpeggios in the bass. This cheerful note-weaving resembles the music of Joaquín Rodrigo. Tango Angelita is a mainstream tango (not from the nuevo branch), in passionate purple hues.
 
From purple we move to the lightest blue in Brouwer’s charming lullaby. Its soft rocking motion is lit by a smile. Coves plays with care, as if sculpting the music out of thin air. Al Maestro by Morel, a tribute to Celedonio Romero, is the longest work on the disc. It is a nebula of static disjoint splashes, out of which emerge stormy or toccata-like episodes, only to dissolve back into the pensive mist. El reloj by Roberto Cantoral is a beautiful, calm song of the mood-fixing kind - that one that you can put on Repeat indefinitely. 
La catedral by Agustín Barrios Mangoré is one of the most beautiful pieces written for guitar. Its first part, Saudade, has the fragile, plaintive ‘ting-a-ling’ of a Bach siciliana. The simplicity of design and the harmonic sequence reminds me of the C-Major Prelude from the Well-Tempered Clavier but moved to a minor key. The middle part, Andante religioso, continues with a blend of Latin sadness and Bachian transparency. It is meditative and spacious, like the interior of a cathedral. The work ends with tempestuous runs of Allegro solemne, the parallel of the C-minor Prelude from the WTC.
 
I don’t know what Iradier’s famous La Paloma is doing in a Latin-American collection. Maybe the guitarist or one of the disc’s dedicatees had a sentimental spot for it. Anyway, this sweet and sensual habañera fits there perfectly. The reading is rather slow and a bit “tipsy”, savoring the notes like good wine. It is long on good-feeling longueurs, those you don’t want to end.
 
Vicente Coves is a composer himself, and his Chelitango is proof of his composing prowess. It is a complex piece, with the mood ranging between melancholic and tragic. The first theme is tender and reflective, as in Piazzolla’s Adios Nonino. Then we move to more agitated episodes. Again, we meet some familiar Piazzolla strokes, when the music of wind and rain gives way to a sad smile, like a shy sunbeam. In his liner-note, Coves writes about Piazzolla and how difficult it is “to avoid, albeit partially, his influence and to find a new path after his work”. I think he did very well. This is beautiful music, and the composer himself plays it as no one else.
 
Barrios’s Saudades appear through the golden-threaded fabric in a structure that is tripartite. Chopinesque spinning in the outer parts frames a more reflective middle episode. 
Alfonsina y el mar is a poignant, sad song made popular by Mercedes Sosa and Nana Mouskouri. Then it was taken up by virtually everybody from Plácido Domingo to Shakira. And this is understandable: it is hard to pass by such a touching and memorable melody, a true sister of Manhã de Carnaval. The arrangement by Coves is gentle and dreamy.
 
The last track takes the form of a rough reveille; not a well-judged decision. The guitarist is joined by a pianist, a singer, and a narrator - the latter being none other than the poet Horacio Ferrer himself, the Ira Gershwin of the tango nuevo. The booklet does not provide the texts, and though Internet helps to locate the lyrics, it can’t help with the words spoken by Ferrer at the beginning of the track. This famous tango-waltz has everything one loves in Piazzolla: a terrific melody and undisguised emotions, like an open heart bleeding in the evening smoke. The singer Enrique Morente comes from the world of modern flamenco singing, and brings the guttural, unpolished manner that adds to the feeling of sincerity and expression. Comparing to Piazzolla’s own recordings, this one is closer to the “rough” approach of Amelita Baltar than to the laid-back singing of Roberto Goyeneche, which is probably more “Argentinean” - in the old tango tradition. I like the way it is arranged and performed. The problem is, this number is too different from the remainder of the program, and does not follow it naturally. It feels alien. I would prefer to have it as part of a different program of more edgy pieces. In the present case please leave me in my sweet dream!
 
Vicente Coves was a student of Pepe Romero, and it shows. His technique is excellent, his command of the sound is absolute, and he plays just beautifully. The amount of extra-musical noise is minimal. The recording is faithful and spacious, and preserves well the aura of the guitar. All in all, this is a lovely recording, but be prepared for a bump at the end. 
Oleg Ledeniov 



 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 



 


EXPLORE MUSICWEB INTERNATIONAL

Making a Donation to MusicWeb

Writing CD reviews for MWI

About MWI
Who we are, where we have come from and how we do it.

Site Map

How to find a review

How to find articles on MusicWeb
Listed in date order

Review Indexes
   By Label
      Select a label and all reviews are listed in Catalogue order
   By Masterwork
            Links from composer names (eg Sibelius) are to resource pages with links to the review indexes for the individual works as well as other resources.

Themed Review pages

Jazz reviews

 

Discographies
   Composer
      Composer surveys
   National
      Unique to MusicWeb -
a comprehensive listing of all LP and CD recordings of given works
.
Prepared by Michael Herman

The Collector’s Guide to Gramophone Company Record Labels 1898 - 1925
Howard Friedman

Book Reviews

Complete Books
We have a number of out of print complete books on-line

Interviews
With Composers, Conductors, Singers, Instumentalists and others
Includes those on the Seen and Heard site

Nostalgia

Nostalgia CD reviews

Records Of The Year
Each reviewer is given the opportunity to select the best of the releases

Monthly Best Buys
Recordings of the Month and Bargains of the Month

Comment
Arthur Butterworth Writes

An occasional column

Phil Scowcroft's Garlands
British Light Music articles

Classical blogs
A listing of Classical Music Blogs external to MusicWeb International

Reviewers Logs
What they have been listening to for pleasure

Announcements

 

Community
Bulletin Board

Give your opinions or seek answers

Reviewers
Pat and present

Helpers invited!

Resources
How Did I Miss That?

Currently suspended but there are a lot there with sound clips


Composer Resources

British Composers

British Light Music Composers

Other composers

Film Music (Archive)
Film Music on the Web (Closed in December 2006)

Programme Notes
For concert organizers

External sites
British Music Society
The BBC Proms
Orchestra Sites
Recording Companies & Retailers
Online Music
Agents & Marketing
Publishers
Other links
Newsgroups
Web News sites etc

PotPourri
A pot-pourri of articles

MW Listening Room
MW Office

Advice to Windows Vista users  
Questionnaire    
Site History  
What they say about us
What we say about us!
Where to get help on the Internet
CD orders By Special Request
Graphics archive
Currency Converter
Dictionary
Magazines
Newsfeed  
Web Ring
Translation Service

Rules for potential reviewers :-)
Do Not Go Here!
April Fools






Untitled Document


Reviews from previous months
Join the mailing list and receive a hyperlinked weekly update on the discs reviewed. details
We welcome feedback on our reviews. Please use the Bulletin Board
Please paste in the first line of your comments the URL of the review to which you refer.