1 Rapsodia sinfónica, for piano & orchestra, Op. 66	11:13 	
2 La Anunciación, for piano & orchestra, Op. 27		8:57 	
3 El jueves santo a medianoche, for piano & orchestra		7:45 	
4 La Oración del torero, for lute quartet (or string quartet/string orchestra), Op. 34	11:03 	

Danzas gitanas, for piano, Set 1, Op. 55 
5 No.3, Danza Ritual	3:44 	
6 Serenata for string quartet, Op. 87	14:26 	

Danzas andaluzas (3) for piano, Op. 8 
7 No.2, Tango		3:26 	

Orquesta de Cámara de l'Empordá (Figueres)
Isidro Barrio - piano & conductor

This unusual tribute to Turina features two first recordings and some more familiar works, with Isidro Barrio as a hard-working pianist, conductor and annotator. The cavernous sound hardly makes for optimum clarity but the performances, even when heavy-handed (notably in the Rapsodia sinfonica) are suitably flamboyant and idiomatic.' ---Bryce Morrison, gramophone.co.uk

Very disappointed with the quality of recording. It sounds like the microphones were at the back of a very large hall. But, this music is rare, so this might be the only option for listening to it. ---Jon K, amazon.com

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Danzas fantasticas, Op. 22

1.I. Exaltacion
2.II. Ensueno
3.III. Orgia

Poema en forma de canciones, Op. 19 (version for voice and orchestra)

4.No. 1. Dedicatoria
5.No. 2. Nunca olvida…
6.No. 3. Cantares
7.No. 4. Los dos miedos
8.No. 5. Las locas por amor

9.Saeta en forma de Salve a la Virgen de la Esperanza, Op. 60 (version for voice and orchestra)

10.Tríptico, Op. 45: I. Farruca (version for voice and orchestra)

Ritmos, Op. 43

11.Preludio
12.Danza lenta
13.Vals tragico
14.Garrotin
15.Intermedio
16.Danza exotica

Sinfonia sevillana, Op. 23

17.I. Panorama
18.II. Por el rio Guadalquivir
19.III. Fiesta en San Juan de Aznalfarache

Clara Mouriz (mezzo-soprano)
BBC Philharmonic
Juanjo Mena (conductor)

This download forms part of Chandos’ ongoing Spanish Music series, performed by the BBC Philharmonic and its Chief Conductor, Juanjo Mena. Here the focus is on the orchestral works of the composer Joaquín Turina, one of the two leading Spanish composers of the twentieth century, the other being Manuel de Falla. Turina was a prolific composer, who in his sixty-seven years wrote more than one hundred works, in which he explored a wide range of classical genres, from symphonic music, solo piano pieces, and vocal works to ballet scores and chamber music. Most of these show the influences of traditional Andalusian music – often conveying feelings of rapture and immense exaltation – while also owing a debt to a range of French composers. --- chandos.net

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Sinfonia Sevillana, Op. 23 
1 	First Movement: Panorama 	8:32
2 	Second Movement: Por el rio Guadalquivir 	7:27
3 	Third Movement: Fiesta en San Juan de Aznalfarache 	8:00

4 	Evangelio, Op. 12 	13:00

El Castillo De Almodóvar 	
5 	First Movement: Silueta nocturna 	5:54
6 	Second Movement: Evocación medieval 	4:02
7 	Third Movement: A plena luz 	5:06

8 	Ritmos (Fantasia coreogafica), Op. 43 	15:10

Catrin Mair Williams (harp)
Orquesta Filarmónica De Gran Canaria
Adrian Leaper - conductor

Joaquin Turina was a Sevillano - no wonder that he produced a Sinfonia Sevillana. He was a friend of de Falla and a pupil of Moskowski and of D'Indy and had studied in Paris. His most famous works are the Danzas Fantásticas, the Oración del Torero and the Rapsodia Sinfónica. The latter two can also be heard on another ASV (CD DCA775). A recent and admirable Chandos CD (Record of the Month) of orchestral pieces overlaps with the present ASV in the case of two works: Sinfonia Sevillana and Ritmos. Leaper takes a sensitively voluptuous way through the Sinfonia Sevillana and the ASV recording team more than meet Leaper half-way. There is some silky quiet playing here alongside the euphoria of the opening Panorama and closing Fiesta. His early Evangelio is suitably placid and serene - even if it was written during the Great War. While going light on the caramel it has a sweet and dignified disposition. El Castillo de Almodovar is in three movements. Again this is a sumptuously melodic work with no shortfall of local colour even if it does avoid the castanets. Rather like the works of the 1930s by Ernesto Halffter, Turina takes a leaf from Ravel's book when it comes to delicacy and atmosphere. The last movement ('in full light') meets a modicum of striding confidence with lyrical intricacy. We also get to hear Catrin Mair Williams's harp to good and understated effect. I wondered if Ritmos (Fantasia coreografica) might be drier but it has plenty of rhapsodic colour and snap as well as seductive romance. If you enjoy de Falla you are very likely to want to know Turina; well worth exploring beyond the headline pieces. He may not have quite the clatter and bite of de Falla but he is a poet of atmosphere and no mean celebrant when it comes to Spanish dance figures. ---Rob Barnett, musicweb-international.com

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1. Danzas gitanas, Op.55
	1. Zambra
	2. Danza de seducción
	3. Danza ritual
	4. Generalife
	5. Saco Monte
2. Rapsodia sinfónica, Op.66 Andante-Allegro vivo
3. Tema y variaciones, Op.100
4. Serenata, Op.87 Allegro vivace-Andante-Allegro vivace-Andante
5. Oración del torero, Op.34

Ricardo Requejo - piano *
Gabriela Dall'Olio - harp +
Orquesta Ciudad de Granada
Juan de Udaeta – conductor

The Rapsodia Sinfónica deserves the noun in its title more that the adjective: it's a brief (nine-minute) ramble on some predictable Spanish rhythms, diverting and forgettable. The American performance is the stronger of the two, paradoxically, perhaps, because it emphasises the work's lyrical, rhapsodic qualities which the Spanish players neglect in an attempt to make something bigger of it. The standard of performance varies, too: Gustavo Romero and the San Diego Chamber Orchestra are far superior to Ricardo Requejo and the sometimes scrappy Granada orchestra. The Bullfighter's Prayer – initially composed for lute quartet, soon lost, recomposed for string quartet and quickly scored for string orchestra – is likewise happier in its Californian incarnation: the playing is superior, and although the orchestra is not much smaller than the Granada group, its sound has a cutting edge which helps give the music bite.

The Danzas Gitanas, which open the Claves disc, were originally composed for piano in 1930, and were premièred in that form in 1932, Turina later orchestrating them (a second set of piano pieces followed in 1934). It's tuneful stuff, which amuses and then departs. There is a little more substance to the Tema y Variaciones for harp and strings, which was first written, for harp and piano, in 1945, and which Rafael Frühbeck de Burgos has arranged for harp and strings. The arrangement, indeed, presents harpists with a work that is pretty well new (it was premièred by the late Nicanor Zabaleta in 1979) and should well find its attractive way into the repertoire, which is hardly overburdened with works of this sort. Lastly chez Claves, there is the charming Serenata for string orchestra, also an expansion of a string-quartet original (1935); the notes make claims for the complexity of its musical language which the music itself doesn't support (it's all relative, I suppose). But it does have more substance than any other of the pieces on the Claves disc, at times belying the innocence of its title – perhaps its closest musical cousin is Debussy's Danse sacrée et danse profane. --- Martin Anderson, classical.net

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01 	Trío en fa. I Lento. Allegro ma non tanto	07:32 	
02 	Trío en fa. II Andante	06:43 	
03 	Trío en fa. III Allegro, alla danza		02:19 	
04 	Trío en fa. IV Andante grandioso	06:03 	
05 	Círculo op. 91. I Amanecer	03:28 	
06 	Círculo op. 91. II Mediodía	02:12 	
07 	Círculo op. 91. Crepúsculo	03:37 	
08 	Trío nº 1 en re mayor op. 35. I Preludio y fuga	06:56 	
09 	Trío nº 1 en re mayor op. 35 II Tema con variaciones	07:36 	
10 	Trío nº 1 en re mayor op. 35 III Sonata	06:14 	 
11 	Trío nº 2 en si menor op. 76 I Lento. I Allegro molto moderato	06:07 	
12 	Trío nº 2 en si menor op. 76 II Molto vivace	02:42 	
13 	Trío nº 2 en si menor op. 76 III. Lento. Andante mosso. Allegro	05:14 	

Trio Arriaga:
Daniel Ligorio, piano
Felipe Rodríguez, violin
David Apellániz, cello

Joaquin Turina was a multi-faceted musician who expressed himself in very different ways. As a pianist, he was precocious and initially gave many concerts with a wide repertoire, and later, in maturity, performances which were more representative of his own works. During the twenties, he played chamber music, forming a quintet with the Cuarteto Frances. He was a concert pianist for several seasons at the Royal Theater, even taking part in some notable symphonic performances such as the Spanish premiere of Prometheus by Scriabin under the direction of Arbos. As a conductor he presented some of his own orchestral works in Spain, Paris, London and Havana. He conducted world premieres of compositions by his friend Manuel de Falla. He conducted the Spanish performances of the Russian Ballets of Sergei Diaghilev. He published a Short Encyclopedia of Music in 1917 and wrote frankly, humorously and sometimes wittily about the music of his own time. As a teacher, he held the chair of composition at the Conservatory of Madrid and was also the Spanish Commissioner of Music. But this pleasant, home-loving man, always attentive to his own people, is of special interest today because of his music; music that was produced in an admirably constant, regular and methodical way; music representative of belated Spanish nationalism and conventional in its basic expression and technique; a type of music that was in no way revolutionary but which simply appeared in generous quantities. Turina always believed in melody being the basis of musical inspiration and surrounded it with harmonies derived from Albeniz and the French masters of the turn of the century. --- arkivmusic.com

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