It does not happen very often, guys, that I am so moved by a record that I feel compelled to write about it and eventually share it with you. But this time, that is exactly the case—I stumbled upon an extraordinary piece of recorded music that I would like to tell you about and draw your attention to.
The record I have in mind is called Classica Española. Alongside works by some of Spain’s most important composers from the first half of the 20th century—Isaac Albéniz, Manuel de Falla, and Enrique Granados—it also includes works by contemporary artists such as Omar Acosta, Juan Lama, and Chick Corea. The common thread running through the musical selection is the deeply rooted coexistence of classical and traditional influences, reflected in the works of the aforementioned Spanish composers.
The initiator and driving force behind this project is the flutist Anette Maiburg—a remarkably talented performer capable of crossing the boundaries between musical genres and styles with an ease and virtuosity that are hard to describe. An important contribution to the album also comes from guitarist Andreas von Wangenheim, who transcribed works by Enrique Granados for guitar, as well as arranger Andreas Tarkmann, who was commissioned to arrange pieces by Isaac Albéniz for flute, guitar, double bass, and castanets.
The aforementioned coexistence of classical and traditional influences is also reflected in the selection of instruments featured on the recording. Alongside classical instruments such as the flute, guitar, and double bass, the performances also include flamenco guitar, cajón, Venezuelan cuatro, castanets, and several even more exotic traditional string and percussion instruments. The album’s instrumental diversity is further enhanced by the varying size of the ensemble from one piece to another, allowing the listener to enjoy duos, trios, quartets, and larger ensembles within a single release.
I should also mention the extraordinary work of recording engineer Friedrich Wilhelm Rödding—the man behind the realization of this exemplary performance. As is typical of Dabringhaus & Grimm productions, this album is a natural recording, meaning that it was recorded not in a studio but in a natural acoustic environment—in this case, a hall at Schloss Dyck in Rhineland, Germany. This is something one can easily discern from the acoustic cues of the space and the authentic coherence of the soundstage, even when listening on a portable player through in-ear headphones.
Another factor that plays a crucial role in the exceptional quality of this recording is that no attempts were made to alter the signals captured by the microphones. Here is a short excerpt from the producer’s website that sheds some light on the specifics of the recording process:
After the musicians have been assigned their proper places in the recording space, the microphones are set up so as to establish a perfect balance between direct sound and room ambiance. All the corrections in fine matters of sound are made with microphones. MDG does not use sound filters or artificial resonance, and it goes without saying that dynamic limiters are taboo. Instead we rely on a carefully selected assortment of professional capacitor microphones representing different sound qualities.
For me personally, this approach to recording has consistently proven to bring me closer to the performance and the musical content than any other method. To my tastes, this CD is a highly successful combination of outstanding music, brilliant performances, and exceptional recording fidelity. Highly recommended!
Thank you for stopping by, and as always, happy listening!