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Sevilla: The Music of Isaac Albeniz: Jason Vieaux (Azica, 2003)

Jason Vieaux is one of those rarest of musicians whose musical excellence and spirit speak to everyone, allowing him to explore the more difficult and emotional side of music. At the young age of 31, Vieaux's professional accomplishments are many and remarkable. Most notable, he is the head of The Cleveland Institute of Music Guitar Department, one of the most respected and renowned musical schools in the world.

Vieaux's most recent CD features the compositions of Isaac Albeniz. Albeniz, a Spanish composer, living from 1860 to 1909, was a child prodigy on piano. In the 1880s, he began his studies with Catalan composer Felipe Pedrell (1841-1922). Pedrell's philosophy and passion drove him to work towards the creation of a Spanish national music, beyond the folk costumes and castanets and involving disciplined research into national and regional traditions. This shaped much of Albeniz's later compositions, including those in this recording.

The title track Sevilla: Sevillanas from Suite Espanola, Op. 4, No. 3 (1886) is beautifully recorded and serves as an excellent representation of Vieaux's exquisite talent. Seville, an inland seaport, became a world city in the 16th century and, later, a center for flamenco music and dance, and the sevillanas is a festive local dance and song. The opening track reflects this rich history splendidly, with lively rhythms and cadences. The introductory melody is light and memorable, reoccurring frequently throughout the piece. The development section is slower and more rubato, then recapitulates back to the original "dance" intro. Vieaux's ability to change the tonal coloring further defines and elaborates the sections of this piece.

Mallorca: Barcarola Op 202 (1891) is a splendid example of a "boat song." A barcarolle is a dance imitating the songs of Venetian gondoliers. In a darker D minor, it starts with chordal outlines on the lower strings, then introduces the gently lilting melody. Though keeping the swaying, boat feeling, Vieaux does take tempo liberties, stretching and elongated phrases with superb finesse. Though his technical prowess with difficult, fast passages is very impressive, it is his slower playing that marvels. He plays with incomparable expressiveness.

Asturias: Leyenda ("Preludio," from Cantos de Espana, Op. 232, No. 1) (1896) was published posthumously and was probably misnamed; it is much more typical Andalusian—the southern portion of Spain, the land of flamenco and gypsies. The intro, in F minor, starts with swiftly moving cadences with the melody being weaved deftly throughout. The intensity and volume increase and build to the addition of accented chords played over the moving notes, eventually cadencing through ascending arpeggios to a slower, more halted rubato section. The piece oscillates between these sections, building and decaying, developing the intro more fully and playing with variations of the slower portion, finally combining the two in a soft, gentle ending.

The talents of this young man should be applauded loudly. His vast technique is easily paralleled by his grasp of phrases and tonal coloring, making for rich and interesting listening. This is one musician whose work you should definitely add to your recording collection, as well as seeing him perform live. His comfort and ease with the guitar is equaled by his rapport with the audience. During his live performances, he speaks to his audience as contentedly as if he were sitting in his own living room having a casual conversation.

Albeniz wrote a brief program on one of his transcripts, and as you listen to Sevilla, the words become even more poignant, as Vieaux seems to have reached through the ages and brought this experience to our ears and hearts:

"In the silence of the night, interrupted by the whispers of breezes perfumed with jasmine, the guzlas play, accompanying the serenades and diffusing in the air the ardent melodies and notes as sweet as the swaying of the palms high above."

To learn more about Jason Vieaux, go to www.jasonvieaux.com.

R. Beth Hicks has been a freelance flutist in Ohio since 1987, and currently plays with the celtic band Knot Fibb'n. Ms. Hicks is also a Licensed Massage Therapist practicing at Medical Massage Clinic in Upper Arlington, Ohio.