Review of Takemitsu Complete Music for Solo Guitar by Andrea Dieci, Brilliant Classics, 2018
Listen to it at: https://brilliant-classics.lnk.to/TakemitstuCompleteMusic
This cd puts me in front of some interesting digressions. First. Why should an interpreter turn back and after a few years pick up an already performed repertoire? Second. Could the way in which the music is recorded, the way it’s produced, change our perception of the same music and push us to a new listening and then a “overhaul” of our own listening?
I think it’s normal that an interpreter wants to go over his own footstep. It’s in the concept of interpretation itself. To start over again. Shooting the same photograph again. The same subject. At a different time. Discovering how the experience gained has changed the way we play, we feel, even just we “see” a score. The music? Yes that is always the same, but the person changes, the artist changes, it’s a way to mark a new boundary, draw up a new synthesis from which to start again, to review our positions and, why not, to doubt of our own certainties. And then there is the technology, the recording studio, a different producer. Fourteen years is an abyss, a flight forward. How would you register again today with new equipment? What changes? How is this music “perceived”? What is the degree of sensitivity I can dare? Is it the perfection?
These thoughts chased me as I listened to this excellent recording the Italian Maestro Andrea Dieci. Yes, because while I was listening I couldn’t resist comparing in my head the previous recording of the same music that took place 14 years ago for the Italian label MAP. Listening to the two versions, overlaping them, integrating them and I thinking about what had changed, what it could have been changed in reading the scores, in the thought of the interpreter….it was like trying to enter in his mind, following his paths… And what had changed in the recording? How many nuances had been lost in the M.A.P. and here instead exalted? And the music? Takemitsu is the realm of sensibility, of the impalpable play between light and shadow, between autumn and spring colors, a delicate balances decided by a musical gardener who seems to eclipse himself in his own creation, in the nature that claims his role, in the sound that fascinates and wraps, emerging and disappearing into silence. Fourteen years are long period. Many years were necessary for these music to come back to claim Andrea Dieci’s attention. Maybe it was the necessary time. If you think about it these years are condenses in the space of a CD, in the comparison between two sound images, between two recordings. John Cage didn’t like records, he said they ruin the landscape. But this panorama is fantastic.