San Francisco Classical Voice

David Russell

Classical guitarist David Russell's performance in last Saturday Herbst Theatre was characterized by impeccable precision, spontaneous expressiveness and a pure, yet infinitely varied tone. While the technically demanding program was dominated by light works--and I would have preferred a more musically challenging recital--it had great variety, and his effortless playing captured the essence of each work.

The evening began with Rossiniana, op.121 by Mauro Giuliani, the most famous guitarist-composer in Vienna, perhaps in all of Europe, during the first two decades of the 19th century. This fantasy on themes of Rossini asks the guitarist to create the effect of a 19th century opera orchestra. Russell achieved the mercurial combination of grace, lyricism and dazzle called for in the score.

Jean Baptiste Loeillet's Suite, a minor work, is a typical early 18th century collection of dances: Allemande, Corante, Sarabanda, Aria, Minuet and Giga. Russell's playing was historically informed, the rhythm and character of each dance well defined, the counterpoint clearly delineated. A wide variety of ornaments, using both slurred and plucked articulation, added delightful variety.

The poignant Farewell to Stromness by Peter Maxwell Davies was originally a piano interlude in a larger work lamenting environmental degradation on the Orkney Islands. While Davies is known for his large complex scores, this is a simple work influenced by folk music. Russell paired it with a traditional Irish jig and captured the straightforward emotion of each.

The recital's emotional high point was Federico Mompou's Suite Compostelana, written in 1962 for Andres Segovia. It pays homage to the Spanish city Santiago de Compostelana, where Segovia and other international musicians gathered to conduct a summer school. Russell's use of color, dynamics and rubato conveyed the deep expressiveness of each movement of this impressionistic piece.

Preludio featured a gentle Bach-like figuration reminiscent of the constant summer rain in that part of Spain. Coral (Chorale) with its four-part harmony and plaintive discords brought to mind the music of the religious pilgrims Santiago de Compostela has attracted over the centuries. While earlier in the evening Russell captivated the audience with dazzling virtuosity, in Cuna (Lullaby) he commanded absolute silence with just a few notes. Recitativo, the dark heart of the suite, with its sparse melody and disturbing harmony, was played with penetrating dramatic insight. Cancion became a quietly reassuring song. The suite ended with Muneira, a vigorous Galician folk dance.

The traditional Six Celtic Melodies were the best received. Russell made "Pipe on the Hob" sparkle, gave "Skye Boat Song" a lilting wistfulness, imparted a haunting quality to "Morag," and made "Spatter the Dew" shimmer. "My Gentle Harp" was a slow funeral dirge and finally, "Bucks of Oranmore" simply burst with joy. Encores included two more Celtic melodies and Agustin Barrios's moving tremolo workUn limosna por el amor de Dios (Alms for the Love of God). Russell's performance conveyed the timeless beauty of each.

(Scott Cmiel is a guitarist on the faculties of the San Francisco Conservatory and the University of California, Berkeley, SCmiel@aol.com)

©1999 Scott Cmiel, all rights reserved