The Swiss label Claves has paid attention to Basque composers several times and does so again with this CD with works by Andres Isasi (1890-1940). Isasi received his first music lessons from his father and grandfather. Unlike his composing peers, he was little interested in resounding national heritage, although he especially admired Grieg, who was nevertheless regarded as a typical national icon.
Isasi also did not go to study in France, like most Spaniards (and Basques), but instead moved to Berlin in 1910, where he continued to study under Humperdinck's guidance. Isasi has mastered his somewhat sweet Wagnerian style in every detail. The works performed on this CD by the Basque Symphony Orchestra conducted by Enrique García Asensio date from the period 1911-1914, Isasi's Berlin studies, and sound German through and through. For that reason Isasi's music was received rather coldly in the Basque Country. All five works are symphonic poems with rather ambitious themes, such as The sin op.19, The oracle op.18 and the Tragische berceuse for violin and orchestra op.22, no.1 (with Jonathan Carney as soloist). More exotic, Mediterranean influences can be heard in Zharufa op.12, for which Isasi used Moroccan themes. The Erotic poetry op.14, dating from 1912, completes this CD; the work sounds less exciting than its suggestive title. All in all, this CD offers a remarkable, if not particularly memorable, repertoire of a Basque outsider. (JvG) For that reason Isasi's music was received rather coldly in the Basque Country. All five works are symphonic poems with rather ambitious themes, such as The sin op.19, The oracle op.18 and the Tragische berceuse for violin and orchestra op.22, no.1 (with Jonathan Carney as soloist). More exotic, Mediterranean influences can be heard in Zharufa op.12, for which Isasi used Moroccan themes. The Erotic poetry op.14, dating from 1912, completes this CD; the work sounds less exciting than its suggestive title. All in all, this CD offers a remarkable, if not particularly memorable, repertoire of a Basque outsider. (JvG) For that reason Isasi's music was received rather coldly in the Basque Country. All five works are symphonic poems with rather ambitious themes, such as The sin op.19, The oracle op.18 and the Tragische berceuse for violin and orchestra op.22, no.1 (with Jonathan Carney as soloist). More exotic, Mediterranean influences can be heard in Zharufa op.12, for which Isasi used Moroccan themes. The Erotic poetry op.14, dating from 1912, completes this CD; the work sounds less exciting than its suggestive title. All in all, this CD offers a remarkable, if not particularly memorable, repertoire of a Basque outsider. (JvG) 18 and the Tragische berceuse for violin and orchestra op.22, no.1 (with Jonathan Carney as soloist). More exotic, Mediterranean influences can be heard in Zharufa op.12, for which Isasi used Moroccan themes. The Erotic poetry op.14, dating from 1912, completes this CD; the work sounds less exciting than its suggestive title. All in all, this CD offers a remarkable, if not particularly memorable, repertoire of a Basque outsider. (JvG) 18 and the Tragische berceuse for violin and orchestra op.22, no.1 (with Jonathan Carney as soloist). More exotic, Mediterranean influences can be heard in Zharufa op.12, for which Isasi used Moroccan themes. The Erotic poetry op.14, dating from 1912, completes this CD; the work sounds less exciting than its suggestive title. All in all, this CD offers a remarkable, if not particularly memorable, repertoire of a Basque outsider. (JvG) repertoire of a Basque outsider. (JvG) repertoire of a Basque outsider. (JvG)more
