Guido Santórsola (1904-94) was born and raised in Brazil before moving to Uruguay. His guitar music falls into several categories: works that pay homage to or parody older styles and forms (like the Three Air of Court, the Concertino for Two Guitars, and Suíte Antiga); works that reflect a more contemporary, neo-classical sensibility (Sonata No. 4 and the gorgeous Preludio No. 2); and pieces inspired by folkloric and popular music (the Valsa Chorosa and Valsa-Choro, plus the Choro No. 1). In Alla Tarantella and Malambo, Santórsola asks the guitarist to tap and strike the instrument in percussive counterpoint–in other words, Santórsola moves comfortably and skillfully between styles.
The phrase “fur-tipped” fingers is such a cliché in guitar circles, yet I must risk using it to describe María Isabel Siewers’ utterly effortless mastery and genuine feeling for this repertoire. She’s as comfortable with the Malambo’s edgy clusters as she is conveying the Suíte Antiga’s old-fashioned grace. She and guitarist Daniela Canale phrase and breathe as one in Concertino, conjuring up delectable, harp-like sonorities that are better heard than described. Attractive music, heavenly sonics, world-class performances: how can guitar aficionados go wrong with this release?
