Our second Ensemble outing this semester featured all Spanish and Latin American works, as presented by four different mixed ensembles: two voice/guitar duets and one each for violin/guitar and flute/guitar (complete program is reproduced at the end of the post). The audience in Kulas Recital Hall, a room with truly perfect acoustics for guitar in small ensembles like these, was nearly packed, so there was palpable energy in the room.

We began with the famous Siete Canciones Popular Españolas of Manuel de Falla. Soprano Ava Paul, a talented singer with a beautiful voice, delivered the passionate texts with confidence and presence while guitarist Rio Manzanares managed the complicated guitar parts deftly.

The songs were followed by a work for violin and guitar by Rodrigo, his Serenata al Alba del Dia. Guitarist Aleksandr Lapshin, joined on stage by violinist Emir Efe, gave a reading that was spirited and full of delightful nuances. The piece is interesting, filled as it is with Rodrigo’s signature folkloric melodies and rhythms, and accompanied by biting harmonic dissonances; it deserves to be played more than it is.

Aleksandr Lapshin with violinist Emir Efe

We returned to song literature next, with a presentation of four of Granados’ Tonadillas. Written for voice and piano like the de Falla, above, these accompaniments lie more comfortably on the guitar. Soprano Delaney Fox sang with both intensity and subtlety, while guitarist Solis Goldsmith provided a clear and sympathetic accompaniment.

Solis Goldsmith with soprano Delaney Fox

We closed the program with the brilliant and charming flute/guitar set, Triptico Criollo, by Ricardo Iznaola. Long a favorite of mine, this was the first time I’d assigned it to students; it is very challenging. Sam and Aurelia rose to the occasion, playing it with the bright, punctuated rhythmic clarity it requires. The audience loved it.