Federico Moreno Torroba (1891-1982)
La Voz De La Guitarra
Contents listed after review
Franz Halász (guitar)
rec. 2023, Wallfahrtskirche, Maria Himmelfahrt, Ising, Germany
BIS BIS2725 SACD [47]
Recorded performances of guitarist Franz Halász are well represented in this forum, featuring him not only as a soloist, but also in conjunction with other musicians; this includes his wife Debora, a fine pianist. These recordings date back to the early 1990s. More recently, I have reviewed several of his solo albums.
This recording is dedicated to the works of one composer: the remarkable Spaniard, Federico Moreno Torroba. Within the guitar fraternity his name is both eminent and revered because of the major quality contribution he made to the 20th century guitar repertory. To the young 30-year-old composer, Segovia gave a ‘blank slate’, one which Torroba subsequently filled with revered treasures for the instrument.
A talented pianist, Torroba did not appear destined to become a major composer for guitar. His musician father discouraged him from embracing a career as a composer. However, Torroba took to the guitar ‘like a fish to water’. It is hard to believe that just two years after his first encounter with Segovia, Torroba would compose the highly idiomatic Sonatina (1923).
As part of his modus operandi of editing non-guitarist’s manuscripts, Segovia also made, what some would debate as unnecessary, idiomatic changes to the compositions of Torroba. The original score for Burgalesa was written in F# major (six sharps); this is an uncomfortable key for the guitar, with no open strings accessible. Torroba’s intention of a contrast between intimate muted strings and sunlit, open-string landscapes, as the music transitioned into D major, was ruined by the editorial initiative to play it in E major.
The programme here is a combination of larger works including, Sonatina [11:05]. Suite Castellana [8:02], and the shorter, such as Preámbula [1:12] from Piezas caracteristicas. One fears no contradiction in saying that this programme was tastefully constructed. While it does not appear on this occasion, and for those who may not have heard it, Torroba’s finest miniature is, arguably, Romance De Los Pinos; an absolute treasure.
Franz Halász currently holds the position of Professor of Guitar at the University of Music and Performing Arts in Munich, a position to which he was appointed in 1993. His illustrious career commenced in 1993 when he won First Prize in the Andres Segovia Competition in Spain, and the Japanese Seto-Ohashi International Competition. He has an extensive discography and continues to perform in concert internationally and to offer master classes.
The playing here is what one would anticipate from a master guitarist, and fine musician. It is always surprising that the tonal sound on his recordings is so amenable when Halász uses artificial finger nails, a complete anathema to Segovia. It may be that the fine Herman Hauser (1936), owned by the Herman Hauser Foundation, Munich, makes a compensating contribution to the tonal sound we hear on this occasion?
In general, the playing on this recording is excellent. One characteristic that detracts is a tendency to play single-note passages requiring rapid execution, at tempi not in context with the scores; technically most impressive, but incongruous with what was written. This appears to be a fashion fad, not exclusive to this musician.
The recording incorporates enjoyable renditions of music written by a key contributor to the 20th century guitar repertory.
Zane Turner
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Contents:
Sonatina (1923)
Burgalesca (1928)
Nocturno (1926)
Six Piezas caracteristicas (1931)
Suite Castellana (1921)
Preludio (before 1928)
Serenata burlesca (before 1928)
Madroños (publ.1954)
