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RODRIGO, J.: Guitar Works, Vol. 1 (Jouve)

Composer(s):Rodrigo, Joaquin
Artist(s) Jouve, Jeremy, guitar • Perroy, Judicael, guitar
Period(s) 20th Century
Genre Classical Music
Category Chamber MusicInstrumental
Catalogue 8.570286
Label Naxos
Quality   320kbps
Album Price
 
MP3
USD 6.99
 

 


Joaquín Rodrigo, composer of the celebrated guitar concerto, Concierto de Aranjuez (Naxos 8.555841), is acknowledged as one of the great Spanish composers of the twentieth century. Although his compositions for solo guitar comprise no more than some 25 titles, each one is a committed artistic statement intended to do honour to Spain’s national instrument by extending its expressive capabilities. The works range from impressionistic geographically-inspired vignettes to more challenging forms, such as the Sonata giocosa, Rodrigo’s first sonata for the guitar, and distilled essences of traditional dances, such as the fandango in Tres piezas españolas, as well as some masterpieces that are distinctly in a genre of their own.


   




Review By Record Geijutsu,March 2009


8.570286_Record_Geijutsu_032009_jp.pdf


Review By Penguin Guide,January 2009

Perhaps surprisingly, Rodrigo did not write a great deal of solo guitar music, preferring to concentrate on his beloved piano. But what there is is undoubtedly memorable. The best-known work here is the Tres piezas españolas, of which the closing Zapateado is the most familiar. The young French guitarist Jérémy Jouve plays it brilliantly, although he is not a show-off artist, preferring musical values, which he displays in the sensitive account of the Andante moderato slow movement of the Sonata giocosa, yet finding plenty of life and sparkle in the outer movements, especially the boisterous finale. He is at his finest in Por los campos de España (‘In the Spanish Countryside’), a group of five miniature

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Review By Rick Jones,Classic FM,June 2008

Guitarist Jeremy Jouve devotes an entire CD to composer Joaquín Rodrigo and sounds as fresh at the end as at the start. The Tres piezas espanolas are exquisite appetisers before the Sonata Giocosa, Rodrigo's first work for solo guitar, which marked a major new voice when it appeared in the 1920s. The dissonance is utterly natural and did much to move the guitar out of its folksy origins. There are some dead passages in the long programmatic suite Por los campos, but sparks fly in the last item, Tonadilla, a riveting guitar duet for which Jouve is joined by Judicael Perroy. The Spanish guitar school thrives.




Review By David Denton, Naxos,March 2008

The popularity of Joaquin Rodrigo’s Guitar Concerto has led to a widespread belief that he was a major composer for the guitar. In reality he had never studied the instrument to the extent that he wrote with little appreciation of its technical boundaries. That resulted in scores that proved so challenging they moved the technical limits of performance. Much has been written about the poverty he and his wife had endured when in 1939 the Concerto brought him widespread recognition. Since then he has written a vast number of scores, but only twenty-five solo pieces. They are all imbued with colour and rhythmic attractions, a typical example coming in track 3, a moment of sheer bravura for the final Zapateado from Tres piezas espanolas. Rodrigo returned to the style

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