All of this is attended to with some zeal and communicative engagement by a well-prepared orchestra and conductor. Zubiaurre clearly has a penchant for smoothly polished long lyrical lines for the upper strings and these dominate. After an agitated and sometimes irritable Allegretto (III) there’s a final unfailingly smiling Allegro ma non troppo. There is more tempest to be heard in the prelude to Don Fernando El Emplazado as befits the overture to a full-scale tragedy encompassing all the usual extremes of the opera-house: death, betrayal and lovers triumphant. The Ledia prelude also has its stormy episodes but this aspect is relieved by a gentle predominance. The little charmer that is Ecos de Oiz is for cello and orchestra. It’s seemingly the only example of Zubiaurre engaging with solo instrument and orchestra. This is roundedly romantic music in the pattern familiar from the short lyrical solos by Tchaikovsky, Bridge and Saint-Saens. A nostalgic and sentimental piece, this is evocative of the composer’s home town of Garay and the surrounding mountains although their drama is not what we hear from Zubiaurre.
Rob Barnett (source/font: aquí)
Gaudiu i compartiu!