Jerome can be considered the monk Antonio Soler (1729 -1783 ) the most important English composer eighteenth century. Kapellmeister of the Monastery of the Escorial, is the perfect example of the balanced synthesis between the popular Italianate elements, the legacy of the Pass accepted organistic or Iberian, and keen eye to the landscape of the Viennese classics.
Although occasionally Soler used the form of theme and variation tions, no work can be compared in magnitude to Fandango (R. 146), his most famous work way: Based on the ubiquitous harmonic ostinato pattern , a hypnotic sequence of twelve notes that paragraph ece regularly in his left hand, and supports a comprehensive exploitation ("teaching?) of resources is clearly : Bankruptcy, masked and turns appointments of all kinds (both built-in rhythm and harmonics) , flashes of scales, chords and lightning, a storm of virtuosity that lifts the skirts of the monk and I (we) do ba the cloisters ilar the monastery.
We could find a dozen versions of Fandango (counting the orchestrations and arrangements by piano and guitar), but in fact there are no controve RSIA possible: The Colombian Rafael Puyana rises majestically by above all others and remains in Olympus. Solo.
trained professionally with Wanda Landowska (1877-1959), Polish harpsichordist pioneer in the recovery and interpretation of the old repertoire: " certain freedoms had, at certain times, laws force" by 1970 is associated Puyana figures who were already consecrated and No movement of historical interpretation (as Christoph er Hogwood, who was his student).
Puyana We can imagine watching with a smile on your face the rest of harpsichord: Kipnis (Sony, 1968), Chojnacka (Erato, 1977, not yet transferred to co mpact ), Ogg (Globe, 1991 ), Koopman (Astrée, 1991), Ross (Erato, 1992), Cole (Virgin, 1994), B elder (Brilliant, 1999), Staier (Teldec, 1999), Figueiredo (Passacaille, 2006). Without gland in the fingers, without e Spiritu, they lack the incisiveness, the brightness, magic, fantasy, sensuality, missing Luho Andalusia.
Puyana decision holds and strength in attack, Arreba binder force riveting performance of rhythmic counterpoint, subtle phrasing dotted rhythms, tempi freedom, including measurement, imagination, colorful, dynamic contrasts , incredible percussion, dance, magic, h clinch a power pole near the caster.
has been sometimes criticized for excessive use Puyana records key opinion do not share, because one of the foundations of his retrospective interpretation is pr ecis the lucky orchestration performs at the limit of the instrument timbre possibilities mento. Although a subsequent recording for L'Oiseau-Lyre (1990), the preferred edition of Philips (1967): The ex-cellent sound making rescues with definition and detail record the continuous changes that actually cause the ent usiasmo the listener (while listening you find yourself stomping and smiling too.)
Update: Finally I can respond to anonymous comments from here I want to thank you for putting me on the right track. The incredible warmth, detail and presence of the key is not (me) seemed to correspond with such an early recording date, but the recording is actually 1967, but was not made by Philips, but by Mercury, then a light years away in the recording technique ( especially the location of the microphones and tapes using 35-mm., identical to those used in the film). Now, at last see the light. I correct the slip (in my album (a reissue supereconómica) appeared only production date I took it for recording) and enjoy the magic fingers of Puyana prodigious.
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