Having previously released English music for solo guitar, Bach’s lute suites, and a range of contemporary music, this new album sees Guitarist Sean Shibe move from the Delphian label to Pentatone, with an eclectic range of Spanish or Spanish influenced music, written or arranged for solo guitar.
Entitled “Camino”, this album, as Shibe explains in the booklet, focuses on an area of repertoire he had an aversion to, chiefly on what is considered the classical guitar’s homeland. The guitar is synonymous with the music of Iberia and it’s odd for a guitarist to avoid it. Interspersed are French works with Spanish connections. His program is highly introspective and melancholic overall, avoiding all the cliches of virtuosic showpieces. Shibe sidesteps into another musical realm, including unexpected pieces and highly expressive performances.
In the opening work, “Danza del molinero” by Falla, his playing is characterized by nuanced dynamics, accentuating the carefully considered phrasing and inviting the listener to focus. This piece acts as a commanding prelude to the entire album. In contrast, Poulenc’s “Sarabande” from 1960 which closes the album is a slightly somber work; Shibe programs these works as pillars to support the musical arch which bridges the gap between them.
Forming the arch between these pieces are several transcriptions and original compositions. The works by Ravel and Satie are best known in their piano originals — in which they are most convincing. In a sequence of three works by Satie, the technical skills Shibe exhibits here are simply exquisite. The differentiation between the melody and accompaniment is intrinsic to the music and perfectly balanced. However, “Gymnopédie No. 1” and later Ravel’s “Pavane pour une Infante défunte” lack the resonance of the originals piano’s bass and sonority. But Shibe does his uttermost with these and the inherent musicality is persuasive, carrying these through in what are slightly underwhelming transcriptions.
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The original compositions for guitar far outstrip the arrangements, especially in the pieces by Mompou which Shibe has infinity to. Mompou’s “Suite compostelana” — which follows the Ravel, is naturally suited to the instrument. It is without a doubt the highlight of the album. Shibe’s approach to the suite is more inward and reserved than either Andrés Segovia or Franz Halász, taking more time and space, particularly more convincing in the slower movements.
The “prelude” unfolds organically in Shibe’s hands, avoiding turning this into a Tárrega-style virtuosic showcase. The “coral” has echoes of the Ravel “pavane” texturally and harmonically, but there is greater elegance here, with a plaintiff simplicity. The gentle “cuna” is atmospheric and pensive, yet phrased gracefully. The unconventional melodic twists and turns in the “recitativo” sound organic and natural. Sophistication radiates in “canción”, almost making it into a song without words. The concluding movement “muñeira” is uplifting and played with much subtlety.
On reaching the end of the album, serenity sets. At less than an hour, the album is short, but musically one is not short-changed. Shibe writes the notes himself, eloquently explain the musical choices. The quality of the recording and the communicativeness of the performances are shining through, making this remarkable release a real testament to Shibe’s artistry.
“Camino”
Works by de Falla, Antonio José, Mompou, Ravel, Poulenc
Sean Shibe – Guitar
Pentatone, CD PTC5186870
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