Rodrigo: Concierto de Aranjuez / Villa-Lobos: Guitar Concerto / Ponce: Concierto del sur

1	Concierto de Aranjuez, fo
2	Concierto de Aranjuez, fo
3	Concierto de Aranjuez, fo
4	Guitar Concerto, A. 501:
5	Guitar Concerto, A. 501:
6	Guitar Concerto, A. 501:
7	Concierto del sur for gui
8	Concierto del sur for gui
9	Concierto del sur for gui
Rodrigo: Concierto de Aranjuez / Villa-Lobos: Guitar Concerto / Ponce: Concierto del sur
1.	Concierto de Aranjuez for guitar & orchestra 22:49
	Composed by Joaquín Rodrigo
	Conducted by José Serebrier
	Performed by New York Philharmonic and Sharon Isbin
2.	Guitar Concerto, A. 501 18:34
	Composed by Heitor Villa-Lobos
	Conducted by José Serebrier
	Performed by New York Philharmonic and Sharon Isbin
3.	Concierto del sur for guitar & orchestra 25:43
	Composed by Manuel Ponce
	Conducted by José Serebrier
	Performed by New York Philharmonic and Sharon Isbin

Barnes & Noble

Despite its centuries-old history, the guitar has struggled to assert its place in the mainstream of classical music. The incredible artistry of Andrés Segovia was crucial to boosting the instrument's fortunes during the 20th century -- two of the works on this disc were composed for him -- but no performer has done more in recent decades than Sharon Isbin to break down barriers on the guitar's behalf. In fact, one such obstacle crumbles with the release of this disc: It's the first recording ever made by the New York Philharmonic with a guitar soloist. The composer Joaquin Rodrigo had crossed another hurdle in 1939 with his Concierto de Aranjuez for guitar and orchestra: It became one of those rare "greatest hits" of classical music that breaks into popular consciousness, even if listeners don't know the source. The slow movement -- its unforgettable melody taken first by mournful English horn, then passed to the ruminating guitar -- simultaneously evokes Spanish color and ineffable poetry, and Isbin's time-stopping performance ideally matches delicacy of technique with depth of feeling. The Iberian dance rhythms of Rodrigo's fast movements are echoed in the two other concertos featured here: the Concierto del sur by Mexican composer Manuel Ponce, and the Brazilian Heitor Villa-Lobos's Concerto for Guitar. The latter is replete with wonderfully subtle touches of orchestration, while Ponce's concerto rivals Rodrigo's for sustained tunefulness. All three works offer enchanting variations on the guitarist as troubadour, using the instrument to sing an array of melancholy, seductive, and jubilant songs. With a suavity that conceals great technical skill, Sharon Isbin is the most eloquent and persuasive performer of this repertoire today. Scott Paulin

All Music Guide

Of the many available renditions of Joaquín Rodrigo's evergreen "Concierto de Aranjuez," few stand out like guitarist Sharon Isbin's impressive performance with José Serebrier and the New York Philharmonic. Isbin's exquisite playing carries the piece, and her refined technique, clear execution, subtle timbral control, and tasteful expression sustain interest throughout. She especially holds the listener's attention in the Adagio by playing the ornamental lines with a great variety of colors and carefully nuanced dynamics. The orchestra's bright accompaniment also must be commended, and Serebrier's tight pacing prevents the work from slipping into ponderousness or sentimentality. "Concierto de Aranjuez" is clearly the main draw, but the more interesting pieces are the technically quirky but dramatically effective "Concerto" by Heitor Villa-Lobos and the dynamically orchestrated "Concierto del sur" by Manuel Ponce -- two fabulous guitar concertos that may hold appeal if Rodrigo's classic seems old hat. Isbin delivers meticulous and richly shaded performances of both, and her presence is almost tangible, even when the fully engaged NYP plays tutti. Warner's sound quality is good but somewhat boosted, so a middle volume level may be necessary for comfortable home listening. Blair Sanderson

New York Times

[Isbin's] performance [of the Concierto de Aranjuez] combines the unimpeachable technical precision that has always been one of her hallmarks and an interpretive warmth that has accrued to her playing more gradually.... [The New York Philharmonic's] performance here is as soulful and fluid as Ms. Isbin's. Allan Kozinn

Gramophone

Quite superb.... A marvelous achievement. William Yeoman