As a teacher of piano, theory and composition at the conservatoire in Valencia, Vicente Asencio (1908-1979) played an instrumental part in the success of Narciso Yepes and countless other influential Spanish musicians in the middle of the 20th century. His role as a teacher has unfairly overshadowed his own creative output, which now justly takes the spotlight in the talented hands of the Italian guitarist Alberto Mesirca. Asencio’s output for guitar has previously been investigated on record, including by the young Elise Neumann on Brilliant Classics (BC9287) but this is the first-ever album dedicated to his guitar music. Perhaps unsurprisingly, given his established reputation as a teacher, it reveals a composer of considerable craft and fluency, entirely at home in his adopted medium. Valencian born and bred, Asencio composed a Suite of Homages that became a calling-card for Yepes and other Spanish guitarists looking to play music of their own era that had something distinctive to say about modern Spain to an international audience. In turn, the homages pay tribute to Scarlatti, de Falla and Lorca, and between them they sum up the ingredients of Asencio’s style: the ruminative grace of the Sonatina, the evocative melancholy of the Elegia, and the fiery sensuality of the Tango. Dating from 1965, Collectici íntim was a second commission from Yepes, a character suite of portraits in the manner of the personalities so wittily drawn by Couperin in his keyboard pieces. Suite mistica derives from a piece commissioned by Spanish radio to mark Holy Week in 1971. Andres Segovia was taken with the work, Dipso (‘I thirst’ – one of the Seven Last Words) that he asked Asencio for two companion pieces, which were written on the subject of the Agony in the Garden and then the rushing wind of Pentecost. Finally, from 1971, there is Asencio’s masterpiece for the guitar, the Suite Valenciana in which he celebrates his own cultural heritage.

REVIEW:

From a composer who never played the guitar, this music is astounding! It is rich in melody and harmony, with moments of technical brilliance and romantic expression; and it has found a sympathetic voice in the hands of an excellent artist, Alberto Mesirca, who continues a trend among classical guitarists of producing recordings of the complete works of composers, giving us the opportunity to hear more than just their “hits."

– American Record Guide

The technical challenging of balancing a choir singing at full volume and a guitar, renowned for its gentle sound, has tended to discourage composers from pairing these resources. Handled sensitively, however, the combination yields a seductive sound-world, full of mystery and imagination, tending in this trio of works to evoke a reassuring feeling of familiarity: there is balance, a sense of form, awareness, and respect for a past that is renewed while it nourishes the present. At the peak of his maturity in 1959 and in a burst of creativity, Mario Castelnuovo-Tedesco set to music seven poems by Federico García Lorca as a cycle, Romancero Gitano Op.152. The vocal writing is limpid, capturing the colours and contrasts of Lorca’s text, whether it is representing the placid flow of three rivers (Baladilla de los Tres Rios) with an incessant stream of semiquavers, or depicting Carmen’s dance through the streets of Seville with an elegant and slightly grotesque “Tempo di Seguidilla” (Baile). Everywhere, what shines through, to quote the composer, is a sense ‘of the Spanish lands: the parched Castile, the pale olive groves, the scent of the orange orchards in Andalusia and, along the coast, the sea which breaks at the shore with vibrations, almost, of a guitar.’ Receiving their first recordings here are Nulla Sors Longa Est by Nicola Jappelli (b.1975) and Materna by Nicola Campogrande (b.1969). Jappelli’s chosen text was written by the Roman philosopher Seneca, and addresses the concept of happiness, ending with a bitter reflection on human frailty. Campogrande’s piece has a more positive outlook, celebrating motherhood in a commission from the guitarist on this recording, Nicolò Spera, to mark the birth of his daughter. Campogrande has set four texts – also in Latin – by the contemporary poet Marco Vacchetti, who was in turn inspired by Renaissance-era nativities painted by Piero della Francesca, Caravaggio, Luini and Solari.

REVIEW:

Castelnuovo-Tedesco’s soulful settings of the poetry of Federico Garcia Lorca are the most affecting songs of the lot. Nicola Spera, Professor of classical guitar at the University of Colorado, is a fabulous guitarist, so with his flamenco-inspired playing, the orange trees and olive groves of Andalucia sound fragrant indeed.

– American Record Guide

Rossini Hayward, one of the most creative guitarists of his generation, has written a sequence of Christmas carol arrangements that range across the centuries and over continents. These beautiful pieces respect the original carols while bringing to them ingenious new features. Seven of the arrangements involve overdubbing by Hayward himself with voice, percussive effects or guitar, adding new colors, but showing that he always ‘understands the charm and power of simplicity’ (Classical Guitar).

Includes works by:

• Ebel, Eduard (1839-1905)
• Gauntlett, Henry J (1805-76)
•Gruber, Franz Xaver (1787-1863)
• Hopkins, John Henry (1820-91)
• Nielsen, Carl August (1865-1931)
• Nordqvist, Gustav (1886-1946)
• Schulz, Johann Abraham Peter (1747-1800)

REVIEW:

The results are delightful.

-- The Arts Desk

This is the fourth volume on Brilliant Classics of the vibrantly cosmopolitan music of the Jewish-Italian, US composer Mario Castelnuovo-Tedesco. His heritage is reflected in this substantial song-cycle for soprano and guitar, receiving here only its second modern recording. The Divan of Moses Ibn Ezra is a setting of 19 poems, in a modern English translation, by a medieval Spanish Jew who wrote, like Castelnuovo-Tedesco almost a millennium later, in exile. Thus the subject of its first section is ‘Songs of Wandering’, before friendship and love turn sour in the second section. Sorrow and defeat also mark the third, ‘Of Wine, and of the Delights of the Sons of Men’ – though still within the composer’s appealingly melodic vein – before the return of spring and a more positive outlook to close the cycle, in which the poet bravely faces ‘The World and its Vicissitudes’ before contemplating mortality with calm resignation in a moving epilogue. The piece is a substantial addition to the growing discography of the composer on Brilliant Classics, including releases dedicated to his guitar studies (BC95219), duets (BC94833), concertos (BC7615) and piano music (BC94811), as well as samples of his prolific output on several compilations. The fine Italian guitarist Giulio Tampalini has his own impressive discography on the label, in music by Paganini (BC95031), Mozzani and Respighi (BC95230), Tarrega (BC94336) and more. Here he is joined by the Polish soprano Joanna Klisowska, who has sung with many major European early-music ensembles. The album is completed with individual songs in Spanish and Italian as well as two settings of Shakespeare. Ranging in date across the composer’s long career, they exhibit his full stylistic range, from the impressionistic, late-Romantic language of the English songs to the more harmonically adventurous terrain of two Spanish folksongs.

Recorded at the height of the international Covid lockdown, Oliver Davis’s sixth album for Signum is a feat of both technological as well as artistic achievement. Following from draws together artists from across the globe for a selection of moving works for a variety of forces – recording a violinist in Los Angeles, a piano duo in The Netherlands, a guitarist in Argentina and the Budapest Scoring Orchestra conducted by Péter Illényi in Budapest. Davis’s previous albums with Signum have reached the top 10 on both iTunes Classical and UK Specialist Classical Charts multiple times, receiving numerous five-star reviews and well over a million streams on Apple Music. British composer Oliver Davis has parlayed a long record as a composer of film and television scores into a successful career as a composer of orchestral music that in performance have attracted top-notch London orchestras and soloists. He has also been active as a composer of ballet – most recently premiering Lineage with choreographer Edwaard Liang at New York City Ballet’s prestigious Fall Fashion Gala.

Dan Andersson died at the age of 32 in 1920, more than 100 years ago. His poetry is still relevant and beloved. Many can still recite his poems and sing many of the compositions. He is one of Sweden's most important poets, a romantic working-class poet who gave voice to the poor in the country, depicted areas and conditions in Sweden that had hardly been illuminated before. One of the great strengths of his poetry is that it is universal, human and beautiful. Nature, love and the conditions of life play the biggest role.