I was delighted to have had the opportunity to speak with guitarist Sharon Isbin (1956-) about this fine album. She appeared to be in the midst of a queue of interviewers set up by her press corps but she came across as a confident, relaxed, and skilled interviewee and a gracious person with a palpable passion for music. Listening to this latest release and having a more than passing interest in this fine musician it is a joy to see her getting recognition.
Originally from the Midwest, Isbin actually began her studies in Italy where her nuclear scientist father was working as a consultant. Her studies in Varese, Italy began at age 9 with Aldo Minella. She also counts among her teachers Andre Segovia, Alirio Diaz, and Oscar Ghiglia among her many teachers.
Most curiously she spent time studying Bach with none other than pianist Rosalyn Tureck during the time she was working on her landmark recording of the Bach Lute Suites. Isbin stated, “I don’t play piano and Tureck doesn’t play guitar but I wanted her insights into the preparation of this music.” Apparently this collaborative scholarship resulted in the publication (by G. Schirmer) of two of these suites originally written for lute.
As an academic, Isbin is all about research, fact checking, and collaboration and this clearly pays off as listeners will be delighted to find. But she is also the founder of the Guitar Department at the venerable Julliard School, a department which this year celebrates 30 years hosting students from 20 countries and, this year, establishing a DMA in guitar performance. Her first graduate, Australian guitarist Alberta Khoury, is the first recipient of this degree.
Asked about being THE musician to start the guitar department at Julliard she related that Segovia had proposed the idea some years ago and was rejected but that she was actually asked to start the department. An example, perhaps, of the student transcending the teacher.
Isbin plays a great deal of guitar music but, unlike many in her field, she has shown interest and devotion to music of our time as well. In fact she estimates having at least 80 scores and arrangements either commissioned by her or dedicated to her. It was with her recording “American Landscapes” featuring concerti commissioned from Lukas Foss, John Corigliano, and Tan Dun that first brought this artist to this reviewer’s attention. She is the recipient of three Grammys (and this album may very well earn her a fourth).
Regarding the present release, Isbin spoke of the process of preparation involved with this music. The Pacifica Quartet had been in residence at the University of Chicago and this was the connection (Cedille is a Chicago based, Chicago friendly label) that allowed her collaboration to appear of this fine record label.
She also spoke of the serendipitous discovery of finding that the composer’s granddaughter, Diana Castelnuovo-Tedesco, actually lived near her in New York. They began discussions and Isbin was able to view and work directly with the manuscript of the Quintet which opens the disc. Asked about the fact that this very quintet had been recorded about a year ago by Jason Vieaux, Isbin replied that it was pure coincidence but that this piece was considered by the composer to be his finest work of chamber music.
The Italian composer, Mario Castelnuovo-Tedesco (1895-1968) was born in Italy but was forced to flee the Nazis and was able, with the sponsorship of Jascha Heifetz (then a recently minted citizen himself), to come to the United States in 1939 just before the outbreak of WWII. In fact, his family suffered a similar indignity in 1492 when they were forced from their native Spain when the Alhambra Edict forced the expulsion of Jews from the country. The composer’s curious hyphenated name, according to Isbin, resulted when a dying friend who had no progeny asked that the composer somehow incorporate his name. This is both sweetly romantic and evocative of the sensitivities of the man himself.
The Guitar Quintet Op. 143 (1950) is a grand romantic and virtuosic work that deserves to be heard. It is difficult to imagine an audience not being thrilled by this music. It is cast in four movements like a classical work (allegro, andante, scherzo, finale). From the beginning the listener is carried along by beautiful melodies and clever collaborations between the strings and the guitar. Isbin related that superscriptions on the score saying, “Souvenir of Spain” gave the idea for the title of this album.
This is followed by one of the most recognizable guitar concertos, the Concerto in D Major for guitar and strings by Antonio Vivaldi written about 1730. The original is written for lute and Isbin uses an edition for guitar by Emilio Pujol with gorgeous ornamentation consistent with late baroque practice added by the present performer. This performance is with guitar, violin, viola, and cello (no second violin) but manages to make a big sound. This work is a personal favorite and, unlike the other works on the album, extremely well known and loved by this reviewer. My baseline favorite recording of this piece will probably always be Julian Bream’s performance on this RCA recording but Isbin’s scholarship provides a fascinating perspective on this work. So basically I now have two favorite recordings.
Next up is the only piece on the album where the Pacifica Quartet plays without guitar. Joaquin Turina (1882-1949) is more or less a contemporary of Castelnuovo-Tedesco. Offered here is Oración del Torero Op. 34 (1925). Curiously this work was written originally for four lutes or string quartet. Only the quartet version seems to get much play though the lute version might be interesting as well. This work, which translates into English as “Bullfighter’s Prayer” is essentially a miniature tone poem whose drama takes on almost cinematic dimensions in its just over 7 minutes. The Pacifica Quartet does a potent job of delivering an engaging performance. The Pacifica consists of Simin Ganatra, first violin; Austin Hartman, second violin; Mark Holloway, viola; and Brandon Vamos, cello. They are based at Indiana University.
Last and certainly not least is another major Quintet by an Italian composer, Luigi Boccherini (1743-1805). His dates make him a contemporary of Mozart and Haydn, though he was born in Italy, many of his productive years were spent in Spain where he enjoyed royal patronage. He was a prolific composer who has experienced a significant interest in the 20th century.
He wrote no less than 9 Quintets for guitar and string quartet and this one, in D Major G. 448 dates from about 1798 and is the best known of his works for this combination. It has the rather unusual attribute of having a percussionist (one Eduardo Leandro) improvise on castanets and tambourine in the last movement, fandango.
The work is cast in three movements (pastorale, allegro, grave assai-fandango) and will remind the listener of Haydn, Mozart, and/or early Beethoven. The music is both familiar and very entertaining. The castanets do not appear to be included in the original score and one can find recordings without them but they really rock that last movement.
This is another triumph for Ms. Isbin and a feather in the caps of the Pacifica Quartet. It is sonically spectacular album as well having employed the producer/engineer team of Judith Sherman and Bill Maylone. They achieve a lucid and warm sound field with an appropriately dry resonance that makes for an intimate listening experience which reveals the details the musicians coax from the score. Get this one, you’ll play it often.