Moreno TORROBA Castillos de España: Selections. BARRIOS 3 Waltzes. SATIE 3 Gnossiennes. ASSAD Saudades. SPOOR Read more class="ARIAL12bi">Sans Souci. BROUWER Un Dia de Noviembre
Aaron Spoor plays with flair, sensitivity, and stylistic awareness in this varied recital that, except for the Satie, is oriented toward the Latin end of the musical spectrum. Pacing, phrasing, tone, nuance, speed, and agility are handled with the assurance of a natural musician. In the Moreno Torroba, Spoor plays the familiar “Manzanares el Real” with well-judged contrast between the steady tread of the rhythmic opening and the lyrical second subject. He’s dreamy and reflective in “Torija Elegia” and captures the folkdance exuberance of “Turegano: Serranilla” while affectingly communicating the delicate pathos of the somewhat darker lyrical episode. The Barrios-Mangoré waltzes are all charm and nostalgia, played with subtle rhythmic fluctuations that nonetheless don’t fragment the melodic flow. Spoor’s slightly astringent tone in Satie’s Gnossiennes complements their antique mysteriousness: He keeps them moving without dispelling their essential gravity. The last three selections share a similarity of mood, and yet emerge as individual meditations. Clarice Assad’s Saudades is infused with that sense of yearning that the title implies; Spoor plays it with sympathy and a pervasive wistfulness. The guitarist’s Sans Souci, built on a recurring five-note phrase, flowingly supported by arpeggios as it moves through different harmonies, blends nicely with Saudades but seems less sad. Lastly, the vaguely mournful Brouwer showcases the guitar’s loveliness as a vehicle for melancholy serenades. Sound is very good, clean, not overly resonant but far from dry, and flatters the guitar’s warm, eloquent voice.