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Robin & Winifred Wood Recital Hall
October 16, 2009
The influence of Andres Segovia still looms over the world of the classical guitar, more than two decades after his death in 1987. Martha Masters' concert programme paid homage to that influence, but in ways that were as surprising as they were anticipated.
The solo classical guitar recital, as pioneered by Tarrega in the mid-19th century but taken to a significant audience by Segovia, typically follows a fairly predictable pattern: leaning heavily on Spanish composers, the programme often begins with a few short baroque pieces, followed by some classical and/or romantic works (written by guitarists of the day, or transcriptions from short piano pieces), and closing with something modern. Masters managed to follow this pattern in each of the two halves of the concert while at the same time presenting works that were unfamiliar at regular turns.
After opening with two Scarlatti sonatas (a bit tentatively, I thought), Masters moved to the Gran Sonata Eroica Op.150 by the Italian Mauro Giuliani (a virtual contemporary of Beethoven; 1781 - 1829). It became apparent that here at least some of her affinities lie. The single-movement piece (in sonata form) is lengthy by guitar standards, running roughy ten minutes. Masters struck the opening chords with gusto, and then used a judicious combination of rubato and tonal colouring to shade the music that followed.
The Spanish component of the programme marked a significant turn from the expected. Masters introduced the section by making reference to a Segovia project that she had been involved with earlier, that led ultimately to an album (available for purchase at the interval) that covered this repertoire. But rather than stick to the tried-and-true warhorses, Masters took a less travelled path that included Segovia's own composition, Estudio Sin Luz (Study with no light), and Masters also included a number of pieces written for Segovia but left unperformed at his death. Errimina (Nostalgia) by Antonio Jose de San Sebastian was one such piece, a moody and evocative work that deserves a wider audience.
Malats' Serenata Espanola is one of the core pieces of standard repertoire of classical guitarists. It appears on virtually every collection of "Spanish guitar" pieces that are assembled at regular intervals by the record companies. Masters provided a new twist: a new arrangement by Angelo Gilardino, one which hews closer to the original piano composition.
For her selection of new works, Masters went with some Piazzolla (always a good choice - his music seems to sit well on the guitar), an homage to Cuban guitarist and composer Leo Brouwer, and arrangements of Croatian folksongs. The latter closed the concert and were a particular success, no doubt in part due to Masters' obvious delight in performing them.
An altogether enjoyable concert, contrasting new and little-heard works with the familiar.
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