Bertrand Chavarría-Aldrete - CARPERE FIDE(S)
- 01 – Gabriel Erkoreka – Fantasía (2001)
- 02 – Alberto Hortiguela – Tres tientos de Antonio de Cabezon (2014) – Tiento en primer tono
- 03 – Alberto Hortiguela – Tres tientos de Antonio de Cabezon (2014) – Tiento en cuarto tono sobre – ‘Malheur me bat’
- 04 – Alberto Hortiguela – Tres tientos de Antonio de Cabezon (2014) – Tiento sobre ‘Qui la dira’
- 05 – Mikel Urquiza – Belarretan (2014)
- 06 – Elena Mendoza – Breviario de espejismos (2005)
- 07 – Joan Riera Robusté – Poetica (supongo) (2012)
- 08 – Ramon Lazkano – Ezkil (2002) – 1
- 08 – Ramon Lazkano – Ezkil (2002) – 2
BERTRAND CHAVARRÍA-ALDRETE – CARPERE FIDE(S)
Acclaimed guitarist and artistic director of SMASH ensemble, Bertrand Chavarría-Aldrete, came up with the idea of starting an “archive” – at once a series of albums and a physical collection of repertoire – encompassing contemporary Spanish guitar music, simply because there wasn’t one. Born in Lyon, France, Bertrand has been resident in Spain for more than a decade, and believes fervently in the celebration of Spain’s wealth of contemporary music, highlights of which he presents with integrity and passion on this disc.
This CD presents contemporary Spanish guitar music in all its diverse and vibrant colours. In Gabriel Erkoreka’s Fantasía the guitar-writing of Flamenco music is transformed into a modern guise, while the ‘imperfections’ of the authentic cante jondo (‘deep singing’) at the heart of Flamenco music are relished via guitar techniques such as pitch bends.
Alberto Hortigüela’s Tres tientos de Antonio de Cabezón are based on the wonderful music of that Renaissance composer, and Mikel Urquiza’s Belarretan for guitar and tape was inspired by works including Titian’s Concert champêtre. Elena Mendoza’s Breviario de espejismos reflects Los Caprichos by Goya, while Joan Riera Robusté’s Poética (supongo) draws on more recent inspiration in the form of poetry by contemporary Spanish poet Julieta Valero.
In Ezkil by Ramón Lazkano (whose music is featured on Chalk Laboratory on Odradek, ODRCD320), the composer distorts archetypes of guitar writing: the instrument’s ambiguous harmonies, scordatura tuning effects, jangling sonorities and fragile harmonics barely sound like a conventional acoustic guitar at all.
Booklet in English, Spanish and French.
Program notes by Joanna Wyld.
“… an ambitious project and outstanding record.”
Neuguitars - Andrea Aguzzi / 17 May 2017
“Odradek Records is an independent American nonprofit record company devoted to the diffusion of contemporary music. In 2016 the label produced this cd, which in fact is something more: this is the first piece of an interesting recording project of a Spanish contemporary guitar music’s archive created by Spanish guitarist Bertrand Chavarria-Aldrete.
This first piece of this upcoming ambitious archive is this cd: fide (s) carpet, where is contained in the music of Gabriel Erkoreka, author of Fantasia 2001, Alberto Hortiguela, with his 2014 Tres tientos de Antonio de Cabezon, Mikel Urquiza with Bellaretan (2014), Elena Mendoza with 2005 Breviario de espejismos, Joan Riera Robuste with Poetica (supongo) composed in2012 and Ramon Lazkano with Ezkil (2002).
This is a remarkable work. A combination of eight highly structured passages, designed with extreme lucidity and performed with a high level of sensitivity, perfection and intent. Spain. The cradle of the classic guitar. Perhaps we have forgotten this country, in these years passed analyzing, discussing, criticizing Andres Segovia’s figure. We have forgotten the presence of new composers, the legacy of Narciso Yepes, a great interpreter for the composers of his time. Now, Spain has decided to come back, to express new ideas, to listen to new music, to renew itself. It’s an ambitious project and outstanding record.”
“Complex and dreamlike, our encounter with the guitar and magnetic tape creates a sublime, tender, pastoral and playful patchwork…”
Anaclase.com / 17 April 2017
Bertrand Chavarría-Aldrete (b“Just browse the biography of orn in 1978) to see how much the guitarist, native of Lyon and of Mexican origin, is involved in the art of his time. Indeed, there are about 30 composers, mostly Spaniards, whose interpreter ensured a world premiere. If the pieces for ensemble dominate, it is mixed with some dialogues with the cello (signed Fernando Fiszbein, Octavio Lopez, José Luis Torá, etc.), flute (Iñaki Estrada, Nikita Kochkine) or percussion (Roberto Rusconi, Jorge Sancho), when they are not just solos (José Luis Campana, Arturo Fuentes, Jose Pablo Polo, Emmanuel Pautrot, etc.).
Born between 1968 and 1988, six other Hispanic creators appeared in a programme of works conceived in the first 15 years of this century. Fantasía (2001) is Gabriel Erkoreka's first work, inspired by Gabriel Erkoreka (born in Bilbao in 1969) and by cante jondo, a deep and dramatic song linked to the roots of flamenco, the beauty of which Lorca and Falla boasted. The musician modernizes his folk model with incisive string pincers and rhythmic percussion, devoting the first third of the piece to nervous flow and the two others to a soothing energy that highlights the virtuosity of the interpreter.
For the French, Ramon Lazkano (Donostia, 1968) proves to be the best known name of this musical era. When he wins Paris at the age of nineteen, the pupil of Grisey and Bancquart does not imagine that one can "create something out of nothing without memory or tradition" (in program Présences 2017) Keeping in mind the works of the Generación del 51 isolated by Francoism (Halffter, Pablo). In Ezkil (2002), he tackles the archetypes with an instrument tuned in quarter-tones, creating special resonances that justify the title (bell, in Basque), with tone and distinction.
Elena Mendoza (Seville, 1973) has been interested in mirages by responding to an order for Francisco de Goya before she became interested in lies in her recent Madrid opera [see our column of 21 February 2017]. Of an engraved woman covered with a mask (Nadie se conoce, 1799), she imagines a work on the perpetual mutation, a game of hide and seek between known and unknown. Brevario de espejismos (2005) prefers to intrigue as rudoyer, tenderly febrile, quivering.
Exceeding the quarter of an hour, Poética (supongo) (2012) is the longest page of this first inventory of the Spanish guitar recent - other volumes will follow. Joan Riera Robusté (Barcelona, 1968) is the author of jazz and electro-acoustics, inspired by a poem by Julieta Valero. As Joanna Wyld writes, "Robust uses minimalist textures with slow evolution to create an air of timelessness, suspense and expectation, with the guitar specially tuned for a natural and open resonance." All is said ! And the play will delight lovers of hypnotic trance.
If painting and literature energize the reflection of composers, the legacy of their colleagues is a ferment sometimes salient. Thus Alberto Hortigüela (Burgos, 1969) adapts Antonio de Cabezón (1510-1556), pioneer of the organ, famous for his contrapuntal pieces (holdo) on the border of German fantasy and Italian ricercare. Tres tenuos by Antonio de Cabezón (2014) plunges the listener into a delicacy of another time.
Let's finish with the cadet Mikel Urquiza (Bilbao, 1988), who was a student of Erkoreka and Lazkano before attending many French ensembles (The Instant Donne, Quatuor Diotima, The Imaginary). He also innovated by frequenting the arts, as in Belarretan (2014) who finds in Manet, Titien and Poulenc a resonance to the subtitle of the score: on the grass. Complex and dreamlike, the encounter of the guitar with a magnetic tape sublime a tender pastoral and playful patchwork, typical of a generation reflected but uncomplexed - Mauro Lanza [read our critic CD], Aurélien Dumont [read our review of the CD] Etc.”