This switcheroo even fools one of the character's wives. Now, while I am no student of biology, anatomy, or physiology, I don't think simply exchanging faces is going to trick anyone into believing you are someone else.
This is also what I feel happens on this recording. The first three works begin affably, not even a stone's throw away from the music on the preceding volume in Naxos' Granados series. I like the cheeky syncopations and airy, woodwind-laced serenading, probably more than the first entry.
But then, the last two works arrive, about 45 minutes worth of music, and it seems I am with a different composer altogether. Comparisons with Debussy, Liszt, and Wagner would not be going too far, where there is virtually no sense of the composer Granados we knew beforehand. See, the face switcheroo didn't fool me!
It really isn't a problem for me; if this is what made the composer's heart soar, all the more power to him. Yet, I would be remiss if I didn't miss some of Granados' individuality. I do appreciate the element of voice added to these works, another nod to Liszt, and perhaps Wagner with the dark, oppressive atmosphere mixed in, but I am not enamored with what is here overall. It seems more chromatic noodling than anything that sticks.
Oh well, they can't all win me over.
A review from 2024
If Volume 1 in the Naxos Granados series exhibited the composer’s light, airy Spanish exoticisms, Volume 2 shows two very different musical styles.
The three light dances are affable and colorful, filled with fun syncopations and percussion. This aspect from Granados only encapsulates about 12 minutes of the runtime, but it is his sunniest, most carefree music here.
What I didn’t expect from this recording were influences of Debussy and Richard Wagner. The wander-y chromaticisms in Dante are darkly moody, and the quasi epilogue reminds me of Liszt and his portrayal, without perhaps the same level of memorability. The Night of Death is better, if only for the additional resources of a chorus and solo tenor to provide the program some variety.
But, I suppose this is where Granados’ interests lay, so it is good to hear the composer branched out from his Spanish Roundelay. I can’t say the late-Romantic portions did much for me, but it was good to hear nonetheless.
Listen on YouTube
Works
Goyescas: Intermezzo (5.35)
Dance of the Green Eyes (3.48)
Gypsy Dance (3.21)
Night of Death (10.50)
Dante (33.23)
Performers
Lieder Càmera
Barcelona Symphony Orchestra
Pablo González, conductor
Label: Naxos
Year: 2016
Total Timing: 56.57
What a surprise evolution in Granados' musical style, even if it didn't end up convincing me overall.
Still, I remain impressed with these Barcelona players and singers.
Find more Granados recordings HERE!
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