Cristo Barrios (clarinet), Ricardo Descalzo (piano), Royal Scottish National Orchestra / Eduardo Portal
Maghek: Ymarxa, Ayssuragan, Guanapay, Chigaday, Azaenegue, Erbane & Aranfaybo
Signum ClassicsSIGCD 612 [two discs, 137’50”]
Producer Matt Dilley
Engineers Mike Hatch, Tony Lewington
Recorded 17-20 November 2019 at Royal Concert Hall, Glasgow
Written by Richard Whitehouse
What’s the story?
Signum Classics issues of its most ambitious releases in Seven Symphonic Poems about the Canary Islands by the Tenerifan-born Gustavo Díaz-Jerez (b1970), a substantial undertaking such as ought to secure this acclaimed composer and pianist greater international prominence.
What’s the music like?
Although Smetana blazed the trail with Ma vlast, his cycle inspired by Bohemian legend and places, few recent composers have attempted such a sequence of interrelated movements – a notable exception being Pascal Dusapin with his Seven Solos for orchestra (1992-2009). This precedent may be significant as, though its subtitle implies something of a ‘suite touristique’, Maghek is the work of one respected for his research into the spectral and physical properties of sound. Not that Díaz-Jerez’s music is rarefied or academic; running parallel to its technical ingenuity is an involvement with Canarian history and topography as evident from the titles of each piece. This does not make for something naively illustrative or pictorial, but it does ensure an evocative dimension is manifest at every stage of a long and absorbing traversal.
It is not clear from Díaz-Jerez’s detailed and insightful booklet notes that the order in which these pieces are heard is the only intended sequence, and whether other permutations may be possible or even desirable. That they were premiered (and presumably can still be performed) individually rather suggests the latter, which itself adds a further layer of fascination to music already awash with mystery and intrigue. A reminder, too, that the image of the Canaries as a choice destination for holidaymakers seeking sun, sea and sand is far from the whole picture.
As presented, the cycle begins in Tenerife with its myriad gradations of light and shade, then to La Palma which unfolds as a concertante piece for clarinet and orchestra in which the latter gradually and ominously assumes dominance. By contrast, Lanzarote is represented by a full-blown piano concerto, a sometimes equable and at other times confrontational means through which to evoke interplay of natural and human elements. The forbidding terrain of La Gomera engenders music of textural intricacy and timbral finesse, then Gran Canaria brings something of a culmination with its cumulative interplay between relative stasis and dynamism toward a visceral climax. Fuerteventura imaginatively explores cultural contrasts and conflicts wrought across time, then El Hierro makes for an understated and even teasingly inconclusive ending.
Does it all work?
Yes, whatever the order in which these pieces are heard. Díaz-Jerez is clearly an orchestrator of ingenuity and resourcefulness, who understands how to realize the potential of his sizable forces, yet this would count for little were his sense of formal evolution not so sure-footed. The playing of the Royal Scottish National Orchestra leaves nothing to be desired under the expert guidance of Eduardo Portal, while both clarinetist Cristo Barrios and pianist Ricardo Decalzo seem fully attuned to music whose technical demands are confidently surmounted.
Is it recommended?
Indeed. The sound has a clarity and lustre which presents this music in the best possible light, while the composer’s annotations shed valuable light on the semantic derivations behind each piece. Do investigate this release, then try Díaz-Jerez’s piano cycle Mataludios (IBS182018).
You can listen to clips from the recording and purchase, either in physical or digital form, at the Presto website