Jason Vieaux - Sevilla: The Music of Isaac Albéniz
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Artist: Jason VieauxEdition: Music CD
CD Release Date: 2003-08-05
Music Label: Azica
Soundtracks:
- Sevilla 4:57
- Cadiz 4:42
- Rumores de la Caleta 4:10
- Cordoba 7:24
- Granada 5:05
- Cataluna 2:20
- Tango 3:13
- Mallorca 7:45
- Cuba 5:44
- Zortzico 3:25
- Asturias (Leyenda) 7:01
- Torre Bermeja 4:19
- Capricho Catalan 3:23
Music reviews of Sevilla: The Music of Isaac Albéniz
Music Review: Spanish guitar at its finest
Rating: 5 Stars
For me, it is interesting to compare this recording to a similar recording by David Russell ("Reflections of Spain") that readers might also know. These recordings share only a few pieces by Albeniz between them (given that Jason Vieaux, unlike Russell, is playing all Albeniz), but they both speak to the Spanish sensibility in a similar vein.
Starting from a purely objective and clinical viewpoint, Mr. Russell is a technically superior guitarist. He plays with almost no detectable string or finger noise and with a deceptive ease that I have heard in no other player. He also plays a comparatively resonant guitar, giving his sound a remarkable and uniform depth of tone and the illusion of a guitar that is pitched lower than normal; and, he makes maximum use of this sound in all his playing. Also, his recording seems more acoustically "natural." Mr. Vieaux's recording seems to have either added reverb or is made in a much more resonant recording space.
For all of Russell's flawlessness, Vieaux simply stands apart in his brilliant rhythmic and sonic interpretation of the music. Even if his technique lacks the polish of Russell's fluid playing (with string noise not more than most first-rate guitarists), as another reviewer has noted, Vieaux simply "transcends mere technical proficiency" with an utterly focused energy and sensitivity that is uncanny to hear.
The most illustrative work to compare them is Sevilla, which each guitarist has arranged himself from the piano original. Russell plays it ever so cleanly and with what I might call an easy and friendly delivery. Again, his tone is perfectly even, extremely lyrical, and consistent throughout. His transcription is a bit longer than Vieaux's by a minute and a half (not sure exactly how, played at a similar tempo--may be by taking more repeats).
Vieaux, on the other hand, plays with a much richer color palette, using more of the string between the bridge and the finger board to subtly alter the timbre (similar in approach to the remarkable Sharon Isbin of "Dreams of a World"). His voicings are incredibly subtle and his ability to stretch and steal tempo (reaching beyond rubato) without seeming to lose a beat, is breathtaking, especially in the intensely passionate slow middle section of this piece. I can think of no other way to describe his sound and rhythm than pure Spanish in temperament. Even if the recording adds reverb, Vieaux seems able to voice it perfectly (which may indicate the "reverb" is not really that much added). Russell plays this middle section with a pleasant lilt, but with nothing of the hair-trigger angles, and stunning silences that Vieaux weaves through the same piece.
I truly love both players playing, but if I had to choose one, I would take Vieaux's effort without hesitation. Yes, it would be nice if Vieaux could play as flawlessly as Russell, but it might well be that Vieaux could never deliver the expressive range and rich content that he has achieved while attempting to do so.
Note: Since I first wrote this review, another reviewer has pointed out that the CD notes clearly and specifically indicate that no reverb was used in the recording (which I somehow did not read). In fact, the recording technique was specifically designed to avoid any signal editing that would affect Mr. Vieaux's artistry. I apologize for the mistake, and also commend the engineers, as well as Mr. Vieaux, for the remarkable results that we hear.
Description of Sevilla: The Music of Isaac Albéniz
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