Although the packaging does not make it clear, this "debut recording"
by Canadian guitar duo ChromaDuo (Tracy Anne Smith and Rob MacDonald)
first appeared early in 2011, when the pair self-published it.
At the time it was only available via the 'Discography' link
on Smith's website, but now Naxos
appear to have stepped in to facilitate access to fully-deserved
wider audiences, perhaps aided by Smith's former guitar teacher
Norbert Kraft, engineer for this recording and probably familiar
to guitarophiles through his extensive recording catalogue -
on Naxos.
The recital consists of two works each by three composers from
different traditions, including five premiere recordings, four
of which were commendably commissioned by ChromaDuo. Each composer
supplies his own useful notes for the booklet.
Though not exactly a household name, Welsh composer Stephen
Goss - entertainingly described by ChromaDuo as an "irreverent
British powerhouse" - is no stranger to disc: his website lists
more than 30 on which his music has appeared. The fleeting sections
of The Raw and the Cooked may be performed in almost
any order, according to Goss, although the way they have been
edited precludes much experimentation in a CD player. Goss also
says that "any number of movements" can be played, and ChromaDuo
have actually selected nine out of the full set of twelve. They
begin with the jazzy 'Hot', Goss's self-evident tribute to Django
Reinhardt. This is probably not the best choice to open with,
because it all but sets the wrong tone for the rest of the work,
which is generally sober, lyrical and restrained. In fact, most
of the other sections seem to dovetail very nicely - ingeniously
- into one another, whereas 'Hot' sounds rather like an afterthought.
'The Raw' and 'The Cooked' of the title are both solos for each
guitarist, as well as references to Goss's two kinds of borrowing
from other sources - 'raw' meaning 'obvious', 'cooked' meaning
'hidden' in the texture. Goss's second work, the vivid, evocative
Still the Sea, is a homage to Toru Takemitsu and a play
on the title of one of Takemitsu's most popular guitar works,
Toward the Sea.
The two works by American composer and guitarist Christopher
Pierce both owe a debt to Johann Sebastian Bach. Pierce's inspiration
for the imaginative Adagio and Fugue came in part from
his reacquaintance at the piano with Bach's Preludes and
Fugues, transforming their formality, as he writes, into
a "surreal landscape", in particular through the use of occasional
string bending and campanella fingering. The final section of
the Three Pieces is based on Alexander Ziloti's well-known
arrangement of Bach's Prelude in E minor, BWV 855a. Pierce's
title is very modest: these are three glorious specimens of
guitar writing, coursing with energy yet impressively easy-going
and affable.
French-Tunisian composer Roland Dyens has also been recorded
a few times - by Elena Papandreou on BIS (CD-1366), for example.
The first of his two marvellous works in this collection, Niterói,
gives its name to the CD - the word apparently means "hidden
waters" in the Amerindian Tupi language - and is a fast-flowing
tour de force for both guitars, bristling with Brazilian syncopation,
difficult manoeuvres, great flashes of inspiration and a unique
style. Dyens, intriguingly described by ChromaDuo as the "incomparable
Parisian", occasionally takes the guitar into a parallel universe
of sonorities and technique, without ever becoming listener-unfriendly.
Comme des Grands is more restrained, but deliberately
so: in Dyens' words, the work is intended "to introduce less-experienced
players to some of the most artful and musical elements of the
guitar [...] a unique balance of child-like innocence expressing
grown-up sentiments". The three sections, 'Gloomy Light', 'The
Mushroom' and 'White-faced Clown', are mouthwateringly delightful
pieces calling out for universal inclusion in guitar recitals.
Overall, the music on this disc is outstanding. Considerable
credit is due to ChromaDuo for having the courage and conviction
to record these new works and playing their part in expanding
the guitar repertoire beyond the stalwart standards. So much
excellent and very accessible solo and duo guitar music is still
being written, not least by Goss and Dyens. And who better to
have perform it than Smith and MacDonald? It is not that the
music in their chosen programme is particularly virtuosic -
much of it is quite slow and straightforward, in fact - but
their intonation, expressiveness and musical intelligence are
unfailing.
Norbert Kraft should be commended for this recording, which
is fine indeed. Passing traffic outside the church venue is
still very faintly audible in some quieter passages, and there
are one or two other odd noises here and there, but they are
barely perceptible, and certainly not a distraction.
Byzantion
Collected reviews and contact at reviews.gramma.co.uk
ChromaDuo (Tracy Anne Smith and Rob MacDonald (guitars))
