EMI CLASSICS Agur Jaunak Basque
music
AGUR JAUNAK - Musiques Basques EMI CLASSICS 7243 5
56876 2 3
Sorozabal: Gernika, Suite
Vasca Guridi: Diez Melodías Vascas, Eusko Irudiak choral
songs by Guridi, Donostia, de Madina, de
Olaizola and de Iparragirre Olatz Saitua-Iribar (soprano) Sociedad Coral de
Bilbao/Gorka Sierra Orchestre du Capitole de Toulouse c.
Michel Plasson
With Agur Jaunak - Musiques
Basques EMI has come up with an unexpected Millennium gift, and - at
what is a difficult time for the Basque and Spanish peoples - not just for
musical reasons. Although Guridi and
Sorozábal are
known and loved by aficionados of Iberian music, the appearance of a
selection of their orchestral and choral music on a major label, under a
conductor of international reknown, is a pleasant surprize. Diez Melodías Vascas apart, the works on this
well-filled issue are rarities, and its value is enhanced by the inclusion of
several choral settings by other, lesser-known Basque composers.
Sorozábal kept alive a sense of identity with his homeland, though
not its language, and his choral march Gernika was written late in a long, full life. Like
Picasso's great painting, it was evoked by the total destruction of the
Basque village during the Civil War, and Sorozábal's martial call to
arms packs a trenchant punch which gets this recording off to a bracing start.
His Suite Vasca (1924) dates from the years
of his Leipzig studies and consists of three settings of Basque folk poems for
chorus and orchestra. Lively, tuneful and sumptuously orchestrated, the music
is oddly reminiscent of Vaughan Williams's Five Tudor Portraits in
feeling, perhaps due to its comparable use of folk material, though the musical
style owes more than the Englishman's to Ravel. Not remotely like the
familiar Sorozabal of Katiuska and the succeeding zarzuelas, Suite Vasca is still a captivating work on its own
terms. The forthright virtues of Plasson, his orchestra and
chorus - pungent sound, tautly sprung rhythms and upfront emotional directness
- fit Sorozábal like a glove. The Diez
Melodías are excitingly done, too, though admittedly in
Guridi's more tender moments Plasson does not match the subtlety of Gomez
Martinez and the Basque Symphony Orchestra on the recent Claves issue. Further, EMI's
wide-ranging recording hits a tangible sonic ceiling at climaxes, so some of
Guridi's delectable orchestral detail is lost. Still, the Toulouse
Orchestra's full-blooded playing presents us with a broader emotional
canvas than any other recorded version, and Plasson's Diez Melodías Vascas is now on balance first
choice of the four currently available. The Bilbao chorus sound thin compared to Claves's
Orfeon Donostiarra in the thrilling Eusko
Irudiak, but come into their own in the substantial choral fillers.
These are simple pieces, but done as lovingly as they are here - with two
gorgeous contributions from the crystalline soprano of Olatz
Saitua-Iribar - they are none the less musically satisfying for all
that. Plasson makes out a strong case for these neglected
scores from one of Europe's most distinctively colourful regions. Full notes
and translations complement his heart-warming performances, and EMI are
to be congratulated on a timely and happy issue.
© Christopher Webber 2000
CD Magazine review
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