Rodrigo: Concierto de Aranjuez; Villa-Lobos: Concerto for guitar; Ponce: Concierto del sur

Rodrigo: Concierto de Aranjuez; Villa-Lobos: Concerto for guitar; Ponce: Concierto del sur

Rodrigo: Concierto de Aranjuez; Villa-Lobos: Concerto for guitar; Ponce: Concierto del sur
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CD Details

Composer: Manuel Ponce
Composer: Joaquin Rodrigo
Composer: Heitor Villa-Lobos
Conductor: José Serebrier
Orchestra: New York Philharmonic
Edition: Music CD
Audio: English (Original Language)
CD Release Date: 2005-08-16
Music Label: Teldec
Soundtracks:
  1. Allegro Con Spirto
  2. Adagio
  3. Allegro Gentile
  4. Allegro Preciso
  5. Andantino E Andante
  6. Allegretto Non Troppo
  7. Allegretto
  8. Andante
  9. Allegro Moderate E Festivo

Music reviews of Rodrigo: Concierto de Aranjuez; Villa-Lobos: Concerto for guitar; Ponce: Concierto del sur

Music Review: Worthy of a Grammy nomination, at the very least!?!
Rating: 5 Stars

I'm sure that Sharon Isbin does not exactly live for Grammy Awards, although they certainly don't hurt a performer's career. However, it is astonishing to me that her collaboration in this recording with the New York Philharmonic under the baton of Jose Serebrier was not seen fit to merit at least a nomination for the 2005 awards. I'm sure that all of the nominees and the winner (announced the previous night) gave fine performances, but they could not have been any more compelling than this one.

I've heard many recordings of classical guitar with orchestra, and none that I have heard surpass this one. It is true that Isbin made a previous recording of the Rodrigo in 1989 with Lawrence Foster and the Lausanne Chamber Orchestra that received critical acclaim and that Rodrigo himself praised her performance then as among the very best. However, that earlier recording contained one major flaw: the guitar was apparently not miked separately from the orchestra. As a result, the orchestra often covered her playing to an annoying degree. (If the guitar did have its own miking, the engineers did not bother to use it when they created the master.)

The current recording of the Rodrigo has all of the artistry of that first recording and none of its defects. The presence of both guitar and orchestra is, indeed, intimate. As a result, so much more of her interplay with the orchestra, as well as her unmatched range of color and dynamics, not to say technical brilliance, stand out brilliantly.

Sharon is, perhaps, unique among guitarists recording today in coming closest to the expressive range found only in Segovia, even to the point of almost matching his apparently unmatchably warm vibrato. And Segovia unfortunately never had a recording this magnificent in detail and presence to pass on to us. If you consider that Segovia is never known to have played Rodrigo's "Concierto De Aranjuez," then I would not hesitate in suggesting that this recording gives you an excellent idea of how he might have played it (along with more of his unique vibrato).

The other two works on the recording are equally brilliant. The Villa-Lobos surprises (I had not heard it before), and the Ponce, again, is a very close match to Segovia's own matchless recording of that piece.

In truth, Sharon Isbin brings her own unique qualities, including a steadier sense of tempo that stands apart from Segovia's famously self-determining (and remarkably effective) tempi. With more recordings like this, and a personal and professional generosity that stands apart, her name may yet be uttered in the same breath as that of the formerly unsurpassable Segovia.

So, what did happen to that Grammy nomination?
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