Isaac Albéniz (1860-1909)
Suite Iberia, Book 3 No 7, El Albaicin
Suite Iberia Book I No 1, Evocation
Suite Española Op 47, Nos. 1-8
Suite España Op 165, Nos. 3 & 5
Laura Lootens (guitar)
rec. 2021, Richard-Wengenmeier-Saal, Bayerische Musikakademie Marktoberdorf, Germany
CAvi-Music 8553538 [61]
The music of Isaac Albéniz is inextricably connected with the guitar, in fact so much so that elements of his output form an important component of the guitar’s staple repertory, and are played more often on that instrument than on the piano.
This recording includes music from three of Albéniz’s most revered works: Suite Iberia, Suite Española Op. 47 and Suite España Op. 165. I am unaware of any guitar recording which has presented the entire Suite Op. 47, but over recent years few recordings have not included at least one movement. Conforming very closely to full presentation is the 1979 recording by Manuel Barrueco (Vox TV 34738) which includes seven of the eight movements; it excludes Asturias, probably because Barrueco considered it a ‘ring-in’. Originally from Chants d’ Espange Op. 232, it does not reflect the geographical area which its name implies. It was added, posthumously in 1912, by the publisher to the original four pieces of 1887 along with Cadiz, Aragon and Castilla to form the Suite we now recognize as Opus 47; this Suite has no chronological relation to any of Alb niz’s other works.
From the early part of the 20th century, transcriptions of Granada, Sevilla, Cadiz regularly appeared on recordings and in concert programmes. In more recent times, Cataluna and Cuba have been more frequently embraced, and although Aragon and Castilla can be heard as solo arrangements, some are more comfortable with arrangements for more than one guitar.
The Suite España comprises six pieces, probably the most famous of which, Tango, is not present here. Only Malagueña, and Capricho Catalan are included on this recording. The final selection, Evocation and EL Albaicin, is taken from Iberia Suite for piano, in four books representing twelve pieces in total. It is worth noting that to accommodate musically El Albaicin it was arranged on this occasion for two guitars, recorded separately, and then executed as a guitar duo with Lootens playing both parts.
The influence of the guitar on Albéniz’s music is quite profound. It was a favourite of both Tárrega and Segovia. The latter referred to transcriptions of Albéniz’s music for the guitar as ‘restitutions’ and both accessed this composer as a means of augmenting the extant guitar repertory that was rather meagre in quality, if not volume. The influence of the guitar on Albéniz is readily illustrated by the following:
In 1886, speaking of his serenata Granada, Albéniz wrote to a friend Enrique Moragas: I live and write a Serenata…. sad to the point of despair, among the aroma of the flowers, the shade of the cypresses and of the snow of the Sierra. I will not compose the intoxication of a juerga. I seek now the tradition… the guzla, the lazy dragging of the fingers over the strings. And above all, a heartbreaking lament out of tune…I want the Arabic Granada, that which is art, which is all that seems to me beauty and emotion.
Laura Lootens was born in 1999 in Marktoberdorf, Bavaria, and commenced studies of the guitar at age eight. At age 14 she began studies in Munich with the renowned Franz Halász, while also attending a secondary school specializing in arts. She subsequently obtained a Master’s degree cum laude followed by an Excellence in Performing diploma, the equivalent of a doctorate.
Lootens is a very accomplished guitarist and performs the music presented to a high standard. In most instances, because of the popularity of the music, there is ample opportunity to make comparisons with performances by others. Those familiar with the scores for this music will quickly become aware of the guitarist’s hand in arranging it for guitar. Bass lines in some pieces are treated quite differently and embellishments, such as pizzicato, are eliminated. The net result is a matter of personal preference.
No mention is made of the instrument utilized for this recording. It is a rather ‘heavy’ sounding guitar, especially in the bass register. This is in contrast to the resonant beauty of the Spanish-made guitar by Paco Santiago Marin used on a disc which I recently reviewed.
Having listened to this music over many years, played by a wide variety of musicians, one develops a sense for the style in which it is executed. The approach on this occasion is not in the ‘Spanish style’ of Spanish masters, such as the great José Luis González or indeed Maestro Segovia. While it does not appear on this recording, Serenata Española by Joaquin Malats can be readily accessed on social media. The above observation is well illustrated by comparing the version of this music by Andrea González Caballero with that of Laura Lootens. The overall impression may be especially influenced by the rather ‘un-Spanish’ sounding guitar of the latter. This is not intended as a criticism but an observation. Even Julian Bream accepted that his interpretation of Spanish Music was not to the taste of the Spanish.
This is an enjoyable recording demonstrating the technical skills and musicality of another young, and highly promising concert guitarist. Her passion for the music of Isaac Albéniz is well evident and conveyed in the arrangements and renditions. For those preoccupied with ‘string whistle’, it is pleasingly absent in this recording.
Zane Turner
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