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Orquesta Sinfonica De Galicia|Albeniz, I.: Iberia (Arr. F. Guerrero) (Isaac Albeniz - Francisco Guerrero)

Albeniz, I.: Iberia (Arr. F. Guerrero) (Isaac Albeniz - Francisco Guerrero)

Isaac Albeniz - Francisco Guerrero

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The concept of orchestrating a piece of music is by no means a new or unheard of concept. Composers have been reworking pieces originally for piano and string quartet, among others, for orchestral performance for centuries. But the practice can be met with consternation from purists and only the most exceptional orchestrations survive with the same tenacity as the original piece, with Ravel's orchestration of Mussorgsky's Pictures at an Exhibition as a prime example. In the case of this album, we have the orchestration of six movements of Albéniz's Iberia by Spanish composer Francisco Guerrero (Guerrero passed before completing the remaining six movements). Many orchestrations of Iberia exist and have had various degrees of success. Guerrero's vision for the work is strikingly different from many orchestrations more typically heard in concert halls. Under his pen, the orchestra is at times excessively busy and un-nuanced, with an almost aggravating reliance on shrill brass flourishes. Little of the subtle detail and warmth of Albéniz's original piano composition remains. Making matters worse is the inconsistent performance given by the Orquesta Sinfonica de Galicia under José Ramón Encinar. Intonation is a very serious problem, but it pales in comparison to the balance issues throughout the orchestra. Forte passages are awash of indistinct sound bordering on noise. Even in softer sections, the instrument carrying the melody must sometimes fight to be heard over accompanimental and harmonic instruments. While Iberia is indeed one of Albéniz's greatest works, and successful orchestrations and performances of it exist, this simply is not among them.
© TiVo

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Albeniz, I.: Iberia (Arr. F. Guerrero) (Isaac Albeniz - Francisco Guerrero)

Orquesta Sinfonica De Galicia

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1
III. Fete-Dieu a Seville (arr. F. Guerrero)
José Ramón Encinar
00:11:05

Galicia Symphony Orchestra, Orchestra - Jose Ramon Encinar, Conductor

2
I. Malaga (arr. F. Guerrero)
Orquesta Sinfonica De Galicia
00:05:22

Galicia Symphony Orchestra, Orchestra - Jose Ramon Encinar, Conductor

3
II. El polo
José Ramón Encinar
00:06:43

Galicia Symphony Orchestra, Orchestra - Jose Ramon Encinar, Conductor

4
I. El Albaicin
Orquesta Sinfonica De Galicia
00:08:09

Galicia Symphony Orchestra, Orchestra - Jose Ramon Encinar, Conductor

5
II. Jerez (arr. F. Guerrero)
José Ramón Encinar
00:09:46

Galicia Symphony Orchestra, Orchestra - Jose Ramon Encinar, Conductor

6
II. Almeria (arr. F. Guerrero)
José Ramón Encinar
00:11:01

Galicia Symphony Orchestra, Orchestra - Jose Ramon Encinar, Conductor

Album Description

The concept of orchestrating a piece of music is by no means a new or unheard of concept. Composers have been reworking pieces originally for piano and string quartet, among others, for orchestral performance for centuries. But the practice can be met with consternation from purists and only the most exceptional orchestrations survive with the same tenacity as the original piece, with Ravel's orchestration of Mussorgsky's Pictures at an Exhibition as a prime example. In the case of this album, we have the orchestration of six movements of Albéniz's Iberia by Spanish composer Francisco Guerrero (Guerrero passed before completing the remaining six movements). Many orchestrations of Iberia exist and have had various degrees of success. Guerrero's vision for the work is strikingly different from many orchestrations more typically heard in concert halls. Under his pen, the orchestra is at times excessively busy and un-nuanced, with an almost aggravating reliance on shrill brass flourishes. Little of the subtle detail and warmth of Albéniz's original piano composition remains. Making matters worse is the inconsistent performance given by the Orquesta Sinfonica de Galicia under José Ramón Encinar. Intonation is a very serious problem, but it pales in comparison to the balance issues throughout the orchestra. Forte passages are awash of indistinct sound bordering on noise. Even in softer sections, the instrument carrying the melody must sometimes fight to be heard over accompanimental and harmonic instruments. While Iberia is indeed one of Albéniz's greatest works, and successful orchestrations and performances of it exist, this simply is not among them.
© TiVo

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