ロドリーゴ: アランフェス協奏曲、ある貴紳のための幻想曲、庭園のための音楽、3つの古風な舞曲

作曲者が絶賛した新時代のアランフェス演奏
ロドリーゴの名作「アランフェス協奏曲」を、生前の作曲者が高く評価していたスペインの新鋭ソシアス（1966年生まれ）が演奏したディスク。予想外のデリケートな解釈に驚かされます。もうひとつのギター協奏曲である「ある貴紳のための幻想曲」も透明な味わいに満ちています。カップリングは珍しいロドリーゴのオーケストラ曲。グラナダ市管弦楽団のいきいきとした演奏が魅力です。 ［コメント提供；キングインターナショナル］
---

According to the booklet notes of this 2002 release, reissued in 2009 on Harmonia Mundi's Gold budget line, Joaquin Rodrigo's Concierto de Aranjuez was the most frequently recorded concerto in the classical repertoire at the time. There's no reason to doubt that assertion, especially with the new tradition some of the music has carved out within the jazz tradition. But the diversity of the performances available, perhaps because the work's performance traditions were heavily shaped by early players like Narciso Yepes, didn't match their sheer numbers. After a while, major new performances of the work became rarer. This recording cleared the high bar set for it, with a fresh reading of the Concierto de Aranjuez joined to an attractive selection of other Rodrigo works, all very nicely recorded. The concerto is the nicest of all, with deliberate tempos in the two outer movements revealing the delicate combinations of the guitar with other small groups of instruments. There's no need here for the unnatural amplification of the guitar that is sometimes used. The Concierto de Aranjuez is followed by the equally well-known Fantasia para un gentilhombre, composed as a peace offering for guitarist Andres Segovia, irked because he hadn't been let in on the Concierto de Aranjuez action. The work cleverly draws on bits of Spanish Renaissance melody. The other two works are less familiar. They date from early in Rodrigo's career, and for all the composer's vaunted Spanishness they resemble Ravel above all. The program as a whole suggests something of why Rodrigo has proven so durable over decades of attacks from self-aggrandizing modernism: his work is not so much populist-conservative as an entirely individual simplification, in Spanish terms, of Ravel's idioms of orchestration. This lovely recording by guitarist Marco Socias and the Orquesta Ciudad de Granada under Josep Pons brings out unexpected subtleties in one of the warhorses of twentieth century music.