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Review by John Miller - September 8, 2016
"Gypsy Inspiration" describes the reason for this programme by flute player Vincent Morelló and Daniel del Pino. It is well-known that, originating in Ancient India, the Romany people spread all over Europe in a period of many centuries, bringing their own style of music and embedding it in that of the country they were staying in. A concise and informative essay by Javier Pérez Senz outlining this contextual history heads the disc's booklet, and is well worth reading before listening.
Morelló and del Pino have constructed an ingenious 10 piece programme covering a wide range of time and area. The works originally were mostly written for other solo instruments, such as song or violin. Good arrangements were selected, and named in the titles as set out in the booklet. Many arrangers, themselves often also composers, often added some ornamentation or tone colour of their own; Morello and del Pino certainly make good use of such additions. This aspect of improvisation is in itself a habit of Gypsy music-makers, and they are used to improvise when playing.
It is obvious that the talents of these two Spanish performers here, revealed in detail via biographies full of international commendations, are scintillating players who evidently enjoy their gypsy inspiration. There are some familiar composers (e.g.Sarasate, Kreisler, Dukas), others less well-known but worthy of encounter (Andersen, Pessard, Torroba etc). The heart of the programme is Béla Barók's masterful Suite Paysanne Hongroise, divided into two varied suites, "Chants Populairs Tristes" and "Vielles Danses" (old dances), which speak for themselves. The final piece on the disc is "Debla" by Cristóbal Halffter (1930). He is regarded as the most important Spanish composer of the Generatión del 51, a Spanish group of comrades in modern music. I'm not especially convinced that there is a great deal of Gypsy in "Debla", but Morelló's performance is remarkable, working through a huge range of techniques and flute capabilities. Essential for flute lovers.
Eudora's location (2015) was in the Conservertoire Profesionalde Getafe, Madrid, using a site with perfect character for chamber music (to my mind at least); an airy ambience without loss of instrumental detail, and a natural 3-d sonic image of the ensemble. The two instruments marry their output realistically, and the feeling of partnership, pinned by the undercurrent of rich tone from del Pino's Yamaha piano, is much evident.
This sort of programme, demonstrating the influence of gypsy and folk music through time, made me recall that Aliud's SACD catalogue shows ones by enthusiasts like del Pino and Morelló, who also produced similarly enjoyable experiences. Search for them on the site! Meanwhile, I was both enchanted and energised by the present disc, and I commend the players for giving so many familiar tunes and dance-forms making one want to play it again. Flute players and addicts of the instrument shouldn't miss Eudora's latest issue, and anyone interested in folk and gypsy additions to the development of European music over time should also benefit.
Copyright © 2016 John Miller and HRAudio.net
Get your CD at http://eudorarecords.com/recordings/gypsy-inspiration/
Morelló and del Pino have constructed an ingenious 10 piece programme covering a wide range of time and area. The works originally were mostly written for other solo instruments, such as song or violin. Good arrangements were selected, and named in the titles as set out in the booklet. Many arrangers, themselves often also composers, often added some ornamentation or tone colour of their own; Morello and del Pino certainly make good use of such additions. This aspect of improvisation is in itself a habit of Gypsy music-makers, and they are used to improvise when playing.
It is obvious that the talents of these two Spanish performers here, revealed in detail via biographies full of international commendations, are scintillating players who evidently enjoy their gypsy inspiration. There are some familiar composers (e.g.Sarasate, Kreisler, Dukas), others less well-known but worthy of encounter (Andersen, Pessard, Torroba etc). The heart of the programme is Béla Barók's masterful Suite Paysanne Hongroise, divided into two varied suites, "Chants Populairs Tristes" and "Vielles Danses" (old dances), which speak for themselves. The final piece on the disc is "Debla" by Cristóbal Halffter (1930). He is regarded as the most important Spanish composer of the Generatión del 51, a Spanish group of comrades in modern music. I'm not especially convinced that there is a great deal of Gypsy in "Debla", but Morelló's performance is remarkable, working through a huge range of techniques and flute capabilities. Essential for flute lovers.
Eudora's location (2015) was in the Conservertoire Profesionalde Getafe, Madrid, using a site with perfect character for chamber music (to my mind at least); an airy ambience without loss of instrumental detail, and a natural 3-d sonic image of the ensemble. The two instruments marry their output realistically, and the feeling of partnership, pinned by the undercurrent of rich tone from del Pino's Yamaha piano, is much evident.
This sort of programme, demonstrating the influence of gypsy and folk music through time, made me recall that Aliud's SACD catalogue shows ones by enthusiasts like del Pino and Morelló, who also produced similarly enjoyable experiences. Search for them on the site! Meanwhile, I was both enchanted and energised by the present disc, and I commend the players for giving so many familiar tunes and dance-forms making one want to play it again. Flute players and addicts of the instrument shouldn't miss Eudora's latest issue, and anyone interested in folk and gypsy additions to the development of European music over time should also benefit.
Copyright © 2016 John Miller and HRAudio.net
Get your CD at http://eudorarecords.com/recordings/gypsy-inspiration/
