Review of Reinventing Guitar II Smaro Gregoriadou, Delos Productions, 2012
“Above all, the pianist must physically shape sounds into form – that is, into the coherent interlocking of sonority, rhythm, inflection, and phrasing that tell us: this is what Beethoven had in mind. It is in this way, at such a moment, that the composer’s identity and the pianist’s are reconciled.”
Edward D. Said Music at the limits, Bloomsbury 2008 pag.15
It’s a harpsichord or a guitar that I’m listening to? Because the sound is really amazing. Because these guitars sound actually almost like a harpsichord, upsetting the listener’s ear, normally used to listen to the warm sound of the traditional classical guitar. If you look for traces of Segovia and Torres sound… well there is no place for you.
The Greek guitarist Smaro Gregoriadu has chosen a totally new and different interpretative approach, her radical choice is to adopt a constructive approach and different instruments, different from the traditional classical guitar: she plays two guitars double pedal guitar course and a single-stringed scalloped pedal guitars built by luthier Kertsopoulos Aesthetics, characterized by the adoption, primarily, of a scalopped keyboard, which prevents fingers from touching the keyboard itself. The result is an extremely clean, ringing tone, very similar to the harpsichord and therefore practically perfect for the baroque repertoire presented in this CD, which will include music by Domenico Scarlatti, J.S.Bach and George Frideric Handel, obviously adapted and translated for these new guitars. The result is really interesting, the sounds are really brilliant and sustain and tone are really different from what we usually hear, creating a new interpretative vision.
On this record Smaro Gregoriadu once again emphasizes the importance of being an original and innovative interpreter and the need for every artist to find her own way and her own sound. Good job. Really excellent booklet of 20 pages describing with extreme care and details Smaro Gregoriadu’s interpretive approach and the technical characteristics of her instruments.
1 Sonata in A major, K.322/L.483/P.360 (arr. S. Gregoriadou)
2 Sonata in D minor, K.1/L.366/P.57 (arr. S. Gregoriadou)
3 Sonata in F minor, K.481/L.187/P.504 (arr. S. Gregoriadou)
4 Sonata in E minor, K.198/L.22/P.132 (arr. S. Gregoriadou)
5 Sonata in D major, K.491/L.164/P.484 (arr. S. Gregoriadou)
9 I. Moderato
10 II. Un poco allegro
11 III. Adagio
12 IV. Fuga a 3: Allegro
George Frideric Handel
13 Keyboard Suite No. 5 in E major, HWV 430: IV. Air with 5 variations, “Harmonious Blacksmith” (arr. S. Gregoriadou)
14 Chaconne in G major, HWV 435 (arr. S. Gregoriadou)
15 Reference Track