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Francisco Escudero - Basque National Orchestra - Tamayo

 
Francisco Escudero - Basque National Orchestra - Tamayo-Orchestra
ID: CLAVES502110-11 (EAN: 7619937211022)  | 2 CD | DDD
Released in: 2001
LABEL:
Claves Records
Subcollection:
Orchestra
Composers:
ESCUDERO, Francisco
Interprets:
AUGUSTYNIAK, Jaroslaw (bassoon) | LAFFONT, Pascal | PAGOS, Angel (tenor) | POLO, Asier (cello) | ZABALETA, Marta (piano)
Ensembles:
Andra Mari Choir | Basque National Orchestra
Conductors:
TAMAYO, Arturo
Other info:

The Basque-born composer Francisco Escudero, a great admirer of Ravel, studied in Paris. He was born in San Sebastian on 13 August 1912 and studied at that city’s Conservatoire. His next academic stage involved a move to Madrid supported by bursaries from the regional government of Guipuzcoa. Madrid’s Royal Academy supported Escudero in studying with Paul Dukas and Paul le Flem in Paris. Later still he worked on conducting technique with Albert Wolff in Munich.
Tracklist
 

CD 1
ESCUDERO, Francisco (1912-2002) 
1. El sueno de un bailarín: no 1, Allegro moderato (Scherzando)12:30 
2. Concerto Vasco for Piano32:07 

CD 2
1. Sinfonia sacra27:59 
2. Joan Bautista30:58 
3. Aranzazu17:55 
4. Concerto for Cello22:40 

Review:
 

In the present set two tone poems flank a symphony, two concertos and an oratorio. El sueño de un Bailarín is subtitled Poema coreográfico. It is his earliest work in the set and its exuberance reeks of Florent Schmitt and his Salome music. A couple of years later Escudero delivered the glitter and sparkle of his piano concerto - the Concierto vasco para piano y orquesta. The display elements are off-set by the gentle middle movement. The Cello Concerto is from a quarter century later. The language now is quite acerbic, the mode of expression succinct. Brilliance is still there but it is accommodated among a measure more dissonance than the works of the 1940s delivered. On the second CD we hear the Sinfonia sacra which continues the line of dissonance. This is a work carrying the burden of scorching anguish. As such it is at times reminiscent of Penderecki in its rasping engagement with conflict. The Finale (crucifixion) is memorable music of great beauty and ultimately of peace. The even later oratorio Joan Bautista continues the dissonance but adds Orff to the list of influences. The tone poem Aranzazu is more approachable and harks back the Escudero’s idiom of the 1940s.
-- Rob Barnett, MusicWeb International


 

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