The classical guitar is an especially challenging instrument, in that one must accompany oneself. That is, the guitarist is playing both melody and harmony at the same time, and one cannot be compromised at the expense of the other. Adriano Del Sal does a fine job of accompanying himself in this album, in which two distinct musical personalities emerge. The first half of this album features works composed in the 19th century that might be known to any classical guitar aficionado. The first set of five pieces by Francisco T ...
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The classical guitar is an especially challenging instrument, in that one must accompany oneself. That is, the guitarist is playing both melody and harmony at the same time, and one cannot be compromised at the expense of the other. Adriano Del Sal does a fine job of accompanying himself in this album, in which two distinct musical personalities emerge. The first half of this album features works composed in the 19th century that might be known to any classical guitar aficionado. The first set of five pieces by Francisco Tárrega are played with a delicate sensitivity that makes it clear Del Sal has paid very careful attention to the phrasing. For example, Capricho árabe and El Columpio are taken at very slow tempi, which pose the risk of making the pieces fall flat and be boring. However, Del Sal is so careful an artist that he uses the slow tempi and rubati to convey much emotion and subtle phrasing; he is clearly savoring the music. Sor's Fantaisie begins with a dirge-like quality that is somber and...
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