LINDE<\/strong>\u00a0<\/strong>Epilogue. Contemplation. Fontainebleau. China Impression.<\/em><\/strong>\u00a0<\/em><\/strong>Imelda\u2019s Waltz<\/em><\/strong>\u00a0<\/em><\/strong>(arr. Barbosa-Lima). Rumba Surprise<\/em><\/strong>\u00a0<\/em><\/strong>(arr. Colina).\u00a0BROUWER<\/strong>Guajira Criolla. Danza Caracteristica.<\/em><\/strong>\u00a0<\/em><\/strong>MONTA\u00d1A<\/strong>\u00a0<\/strong>Porro.<\/em><\/strong>\u00a0<\/em><\/strong>ESCOBAR<\/strong>\u00a0<\/strong>Chopi.<\/em><\/strong>\u00a0<\/em><\/strong>CANTELOUBE<\/strong>\u00a0<\/strong>(arr.Yasui) O\u2019Bailero.<\/em><\/strong>\u00a0<\/em><\/strong>GUBAIDULINA<\/strong>\u00a0<\/strong>Serenade.<\/strong>J\u00d6NSSON<\/strong>\u00a0<\/strong>Light Shadows\u2026Blue.<\/em><\/strong>\u00a0<\/em><\/strong>MYERS<\/strong>\u00a0<\/strong>(arr. Yasui) Cavatina.<\/strong><\/p>\n [\/et_pb_text][et_pb_text _builder_version=\u00bb4.14.2″ _module_preset=\u00bbdefault\u00bb custom_padding=\u00bb24px|||||\u00bb global_colors_info=\u00bb{}\u00bb] For further evidence of her Latin love affair, there\u2019s KontraLinde<\/em> [Caprice CAP 21665] her joint CD with violinist Anton Kontra, which, although it covers a wide range extending back into the Classical Era, with music by Italian Filippo Gragnani, French Napoleon Coste, and German Christian Gottlieb Scheidler, also includes Spanish\/Argentinean composers like Joaqu\u00edn Nin, Manuel de Falla\u2014don\u2019t miss the music-only Danse Espagnole<\/em> from his La Vida Breve<\/em> on YouTube at https:\/\/www.youtube.com\/watch?v=NFWxsbew_6g\u2014and Astor Piazzolla. Finally, her CD with singer\/composer Merit Hemmingson & Martin St. Hill leaves the Latins behind, being devoted to adaptations of such beloved pieces as Joplin\u2019s The Entertainer<\/em>, Elgar\u2019s Pomp and<\/em> Circumstance<\/em>, Paganini\u2019s La Campanella<\/em> and Bach\u2019s Jesus Bleibet<\/em> Meine Freude<\/em> and more, along with original works. Of course, any music Linde decides to play will benefit from her immaculate technique, colorful tonal palette, subtle rubato, and heartfelt expressiveness.<\/p>\n And now for a closer look at Shades in Blue<\/em>: As I\u2019ve said, several of these exceedingly attractive \u201cnumbers\u201d show a\u00a0\u00a0\u00a0 pronounced folk influence, from Brouwer\u2019s Guajira Criolla<\/em>, with its sweet tune and delicate pizzicato touches, to his altogether more pungent, strongly rhythmic Danza Characteristica<\/em>; to Gentil Montana\u2019s lively, somewhat jazzy, danceable evocation of a rural celebration (my interpretation), Porro; <\/em>and in the same vein, Pablo Escobar\u2019s festive, irresistible Chopi<\/em>, with added percussive guitar \u201cbodywork,\u201d; and lastly, Linde\u2019s Rumba Surprise<\/em>, with its<\/p>\n captivating rhythm supplemented by Gustavo Colina\u2019s ear-tickling cuartro, somehow generating sounds mimicking rattles, castanets and even sighs [the cuartro is a small four-stringed instrument that either resembles a cross between a violin and a guitar or a ukelele depending on its country of origin). Pieces of a decidedly Latin character not necessarily linked to folk music\u2014although who\u2019s to say that there isn\u2019t a subliminal influence\u2014include Linde\u2019s previously mentioned Epilogue<\/em>, with it\u2019s harmonically typical introductory measures, sentimental waltz section and it\u2019s eventually slightly giddy enthusiasm; the short but moving minor key Contemplation<\/em>; and Fontainebleau<\/em>, one of a series of pieces Linde wrote as evocations of locales that made a strong impression, with its insinuating tango rhythm\u2014so much more Argentinean than French\u2014and vigorous Flamenco-like strumming and rapidly ascending triplets adding just the right amount of \u201cbite.\u201d Linde\u2019s love of scenic tone-painting finds further expression in her three-part China Impression<\/em>, the first of which, Winding Dragon<\/em>, starts out with a Latin vibe, but then adopts a more familiar Chinese aura. Mountain Mist<\/em>, the slowest of the three pieces, incorporates slides reminiscent of various zither-like Chinese instruments; that, plus the slow oscillation between two notes in the bass sustain a hypnotic fascination. Beijing Return<\/em> carries over that alternating-note drone, but this time as part of a lively, cheerful finish to an engaging travelogue.<\/p>\n I hear Sofia Gubaidulina\u2019s Serenade<\/em> and Reine Jonsson\u2019s Light<\/em> Shadows\u2026Blue<\/em> as \u201cabstractions\u201d in which certain aspects of Spanish music coalesce to form atmospheric evocations as opposed to idiomatic imitations. The Gubaidulina was a real surprise: I tend to think of her as a composer of large scale, contemporary but accessible works and this brief, at times delicate composition demonstrates that a \u201creal\u201d composer can successfully turn her hand to anything: I\u2019m reminded of Ravel\u2019s several \u00e0 la mani\u00e8re de<\/em> compositions that self-effacedly absorb their honored composers\u2019 essential style. Granted, there are dramatic and occasionally dissonant, \u201cmodern\u201d interjections, but they don\u2019t dominate the narrative. The Serenade\u2019s <\/em>recitative\u2014based on scalar patterns that to me are derived from Flamenco, and in turn from that genre\u2019s Moorish ancestry—give way to the gently melancholy central melody that took me a while to appreciate. It\u2019s not the immediately compelling, lyrically effusive song the title implies, but rather a reserved entreaty that\u2019s nonetheless very effective, as is the delicate, ascending \u201cfarewell\u201d in single notes that conclude this perfect miniature.<\/p>\n Jonsson presents Light Shadows\u2026Blue\u2019s <\/em>\u201cabstractions\u201d as features of a tender, poetic landscape, more monophonic in texture than polyphonic, although there is one notable passage that, to my mind, summons Renaissance-era lute works that delighted in their polyphonic mastery. While there\u2019s no melodically memorable phrase with which to caress the ear, it\u2019s an effective mood piece, with a developmental process that reminds me of the extended expositions of Classical Indian or Arabic music that, even lacking fully formed melody, nonetheless ensnare a sympathetic listener in their leisurely progress.<\/p>\n Perhaps I should have included Joseph Canteloube\u2019s O\u2019Bailero<\/em> as part of the \u201cfolk-music\u201d inspired section of this review, but I decided to separate it, as its inspiration\u2014whether consciously chosen or unconsciously assimilated by the composer\u2014is French rather than Latin or Spanish. It\u2019s No. 13 of the first of his Chants d\u2019Auvergne, and according to the booklet notes, \u201cis a well-known and popular song.\u201d My other reason for placing it here rather than towards the beginning is that I hear a kinship between it and the concluding work on the program, Stanley Myers\u2019 deservedly admired Cavatina, with its enchanting melody set with disarming simplicity. Performing together again, Linde and Barbosa-Lima savor every delicious moment of Byron Yasui\u2019s creative arrangements for guitar duo, not least the Cavatina\u2019s closing fade-out; it\u2019s a lovely adieu to this entrancing recital, for which Celia Linde contributed the reminiscent-laden and informative notes and her artistic daughter, Imelda (the dedicatee of Imelda\u2019s Waltz<\/em>), a portrait of her mother that\u2019s a colorful complement to the cover\u2019s subtly tinted photograph. Robert Schulslaper<\/strong><\/p>\n \u00a0<\/strong>Five stars: As beautiful as a guitar recital can be.[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" SHADES IN BLUE\u00a0\u2022\u00a0Celia Linde, Carlos Barbosa-Lima (gtr); Gustavo Colina\u00a0(cuatro)\u00a0\u2022\u00a0PROPRIUS 2085 (49:29) LINDE\u00a0Epilogue. Contemplation. Fontainebleau. China Impression.\u00a0Imelda\u2019s Waltz\u00a0(arr. Barbosa-Lima). Rumba Surprise\u00a0(arr. Colina).\u00a0BROUWERGuajira Criolla. Danza Caracteristica.\u00a0MONTA\u00d1A\u00a0Porro.\u00a0ESCOBAR\u00a0Chopi.\u00a0CANTELOUBE\u00a0(arr.Yasui) O\u2019Bailero.\u00a0GUBAIDULINA\u00a0Serenade.J\u00d6NSSON\u00a0Light Shadows\u2026Blue.\u00a0MYERS\u00a0(arr. Yasui) Cavatina.Many of the tracks on Shades in Blue, Swedish guitarist Celia Linde\u2019s newest CD, are of Latin American music, a genre for which she has a real flair […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"1280","footnotes":""},"categories":[24],"tags":[],"class_list":["post-609","post","type-post","status-publish","format-standard","hentry","category-review-es"],"_links":{"self":[{"href":"https:\/\/celialinde.se\/es\/wp-json\/wp\/v2\/posts\/609","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/celialinde.se\/es\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/celialinde.se\/es\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/celialinde.se\/es\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/celialinde.se\/es\/wp-json\/wp\/v2\/comments?post=609"}],"version-history":[{"count":0,"href":"https:\/\/celialinde.se\/es\/wp-json\/wp\/v2\/posts\/609\/revisions"}],"wp:attachment":[{"href":"https:\/\/celialinde.se\/es\/wp-json\/wp\/v2\/media?parent=609"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/celialinde.se\/es\/wp-json\/wp\/v2\/categories?post=609"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/celialinde.se\/es\/wp-json\/wp\/v2\/tags?post=609"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"\"](\"https:\/\/celialinde.se\/wp-content\/uploads\/2021\/12\/Celia-Linde_cover-300x300-1.jpg\")
<\/em><\/strong>Many of the tracks on Shades in Blue,<\/em> Swedish guitarist Celia Linde\u2019s newest CD, are of Latin American music, a genre for which she has a real flair as both performer and composer. And at least two of her previously released CDs\u2014Latin American Guitar<\/em> Music<\/em> [Bluebell of Sweden ABCD 048] and Spanish Guitar Music<\/em> [Bluebell of Sweden, Bell 202] confirm that Shades in Blue<\/em> is not a \u201cone off\u201d but that she has had a long involvement with and affection for music from that part of the world. I\u2019m guessing that her studies with guitarist Carlos Barbosa-Lima, who accompanies her in his charming arrangement of Imelda\u2019s<\/em> Waltz<\/em>\u2014a lovely, lilting mid-tempo piece that will have you dancing around the room\u2014may have played a part in reinforcing her love of the genre. In addition, we mustn\u2019t overlook her studies with Andres Segovia, the patrician dean of classical guitarists, who also commissioned and played his fair share of Latin, Spanish, and Brazilian music. As several of Shades in Blue\u2019s<\/em> selections show a strong folk influence, it\u2019s interesting to discover that she\u2019s collaborated with cimbalom player George Mihalache on Episodes on a Journey<\/em>, a disc not only of Gypsy music, as the presence of a cimbalom might lead one to expect, but of music extending from Greensleeves<\/em> to Carlo Domeniconi\u2019s Koyunbaba<\/em> (a contemporary guitar classic), and including a duet of Shades in Blue\u2019s Epilogue<\/em> [watch it on YouTube at Shades in Blue – Epilogue<\/a>].<\/p>\n