In this collection of arrangements for viola and piano, Tabea Zimmermann and Javier Perianes take us on a journey through Spain and South America.
Xavier Montsalvatge is regarded as one of the most important Spanish composers of the 20th century and no doubt has an eclectic compositional language. He explored numerous styles of music during his lifetime, from 12-tone technique and Wagnerian influences earlier in his career, to the Caribbean ones heard in this set. His “Cinco Canciones negras” (1945) originally for mezzo-soprano and orchestra, are perhaps one of his most famous works and are based upon sounds and culture from the Antilles. From this set, “Canción de cuna para dormir a un negrito” (track 3) is what actually inspired the entire cycle.
Though on the surface it may be just a lullaby, I found this performance poignant: the Habanera rhythm in the bassline of the piano is just perceptible enough to provide a relaxed yet swinging feel, while the viola (with the added mute) closely mimics the deep and soothing huskiness of a mother’s tender voice. Punto de Habanera (track 4) is a light and playful contrast from the first two selections. The unexpected moment of atonality in the final flourish of this track puts a jazzy spin on the piece.
In Heitor Villa-Lobos’ famous Aria from “Bachianas Brasileiras”, no. 5 (track 14), originally for ingenious orchestration for soprano and cello orchestra, the viola is an expressive storyteller, conveying the meaning of the original words without a voice, an impressive achievement. Zimmermann possesses a richness of sound through an excellent control of vibrato: rather than having the vibrato permeate a note from the start of a phrase, she only uses it toward the end of it, much in the way that a human voice might waver as a note decays.
Related Classical Music Reviews
- Review: Pablo Heras-Casado Conducts Manuel de Falla
- Review: Villa Lobos – Guitar and Harmonica Concertos – Barrueco, Staneck
- Review: Ravel – Piano Concerto, Le Tombeau de Couperin – Perianes, Pons
The works by Pablo Casals make for a very nice listen. While tracks 16 and 17 show the viola again taking on a narrative voice, it is En Sourdine (track 15) that I found to be the real highlight of the set. The work is beautifully performed, especially by Perianes. Although a good part of the piano line is accompanimental, we can hear its Debussian undertones: diaphanous yet scintillating, the performance evokes a sense of fascinating and haunting mystery.
Albeniz’s Tango (track 23) is interesting in that it brings Cuban influences to a genre that is originally Argentinian. A beautiful conclusion to the album, it contrasts directly in character with the Piazzola (track 1). The two divergent compositions are what present the concept of the tango in a comprehensive light, showing the grace and calm of a genre well associated with allure and passion. Zimmermann and Perianes also add an element of subtle humor to this particular selection. The piece does not become lost in its mildness, however, thanks to the lovely gradations of dynamics.
The solid liner notes provide helpful historical and compositional context for each piece. They open with the line, “musical instruments made to sing” – Zimmermannn and Perianes do just that in an inviting and enjoyable album.
“Cantilena” – Music by Piazzolla, Falla, Granados and Villa-Lobos, Albeniz et al. arranged for viola and piano
Tabea Zimmermann – Viola
Javier Perianes – Piano
Harmonia Mundi, CD HMM902648
Read more classical music reviews or visit The Classic Review Amazon store
Follow Us and Comment:
Get our periodic classical music newsletter with our recent reviews, news and beginners guides.
We respect your privacy.
