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21 avril 2010 | harmonia mundi | Filesonic + Fileserve

“Javier Perianes's playing is finely articulated” The Independent, 21st February 2010

Request : not my rip ... thanks to the real ripper.

“ beautiful disc...performances are excellent, communicating a real sense of revelation, of bringing a distinctive composer's voice to a 21st-century audience for the first time” The Guardian, 5th February 2010 ****

“[Perianes] has a taste for this kind of quiet but deep expression, and his natural introversion, delicate touch and controlled tone are ideal for the still waters of Nebra's adagios... concentration and refinement certainly make a strong case for the introduction of [Nebra's] music into the modern piano repertoire.” Gramophone Magazine, August 2010

During his all-too-brief life, the Andalusian composer Manuel Blasco de Nebra (1750-1784) left behind a handful of keyboard works that evoke Scarlatti's concise forms and extraordinary powers of invention. Each of the sonatas consists of two movements: an adagio followed by a fast finale. The adagios are stark and full of gut-wrenching, slowly resolving dissonant moments, while unpredictable twists and turns characterize the almost Haydn-esque Allegros and Prestos, as well as the E minor Pastorela Minuet's discursive melodic trajectory. At times Blasco de Nebra foreshadows future soulmates; you might mistake the Op. 1 C minor sonata finale's persistent dotted rhythms for Schumann's.

Javier Perianes understands what makes de Nebra tick, borne out by his varied articulations, wide dynamic spectrum, and shapely embellishments. The C major sonata's Allegro particularly exemplifies Perianes' interpretive approach, and contrasts to Pedro Casals' Naxos recording, which features plainer yet more sharply etched and closely miked pianism. In other words, Perianes is András Schiff to Casals' Glenn Gould. Although I would not hesitate to invest in Naxos' three-volume complete Blasco de Nebra cycle, Perianes' single-disc survey proves an ideal introduction to an unjustly neglected composer. Who knows, maybe Perianes will record the rest of Blasco de Nebra's keyboard output. -- Jed Distler, ClassicsToday.com

"Manuel is reckoned to have composed around 170 works in his short career, but of those only 30 pieces, all for either harpsichord or fortepiano, survive. Javier Peranes plays eight of them on this beautiful disc, six sonatas and two of the rustic, three-movement pastorelas. Perianes uses a modern concert grand, and shows that while Blasco de Nebra was influenced by the keyboard sonatas of Domenico Scarlatti, most of all – his sonatas all adopt the same two-movement, slow- fast scheme – he was well aware of what was happening musically elsewhere in Europe in the 1770s. Blasco de Nebra's expressive world is far more searching than anything in Scarlatti's 500-odd sonatas: the opening Adagio of his Sonata No 1 in C minor, for instance, sounds almost like a Chopin nocturne, and elsewhere his harmonic world can be a richly mysterious one." -- Andrew Clements, The Guardian [2/5/2010]

Manuel Blasco de Nebra was born in Seville in 1750 and died there in 1784. He came from a musical family and his father, the organist José Blasco de Nebra, was his first teacher. At this time Seville was in the throes of a major economic crisis, having lost its monopoly on trade with the Americas, and Manuel was therefore forced to leave his native city and try his luck elsewhere. In 1766 he travelled to Madrid, where he was soon renowned for his amazing sightreading abilities and for his remarkably expressive performances on the harpsichord, organ and piano, the last instrument then in its infancy. His uncle, José de Nebra, a composer of zarzuelas, was a highly respected figure at court and was able to give his nephew some help in establishing his own musical career but he died two years later, and, lacking financial support, Manuel had no option but to return to Seville. Once there, he carried out some of his father’s organ-playing duties at the cathedral as well as standing in from time to time for its principal organist, Juan Roldán. He composed about 170 works, although only 30, all for keyboard instrument, are still in existence: Seis sonatas para clave y fuerte-piano Op.1 (Madrid, 1780); six pastorellas and 12 sonatas (Montserrat, Abadía); six keyboard sonatas (Osuna, Encarnación Monastery).

Javier Perianes invites us to discover the keyboard works of a composer who, like himself, was a native of Andalusia: the heir to Scarlatti in many respects, Blasco de Nebra magisterially combined his own natural heritage with the forms imported by the Hispano-Neapolitan composer. The sonatas and pastorales presented on this disc shed light on the multiple facets of his creative genius, alas cut short all too soon: he died at the age of just thirty-four.

1. Sonata no.1 in C minor: I. Adagio

2. Sonata no.1 in C minor: II. Allegro

3. Sonata no.2 in B flat major: I. Adagio

5. Sonata no.5 in F sharp minor: I. Adagio

6. Sonata no.5 in F sharp minor: II. Presto

7. Sonata no.3 in D major: I. Adagio

8. Sonata no.3 in D major: II. Allegro

9. Sonata no.4 in C major: I. Adagio

10. Sonata no.4 in C major: II. Allegro

11. Sonata no.6 in E minor: I. Adagio

12. Sonata no.6 in E minor: II. Allegro

13. Pastorela no.2 in F major: I. Adagio

14. Pastorela no.2 in F major: II. Pastorela

15. Pastorela no.2 in F major: III. Minuet

16. Pastorela no.6 in E minor: I. Adagio

17. Pastorela no.6 in E minor: II. Pastorela

18. Pastorela no.6 in E minor: III. Minuet

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