Jim Davidson wrote:
Stephen Kenyon wrote:Well the first recording should be a strong point of reference, as it is at least that which is closest to the composer, it being made by an ex student of the dedicatee, Regino Sainz de la Maza, namely Ricardo Iznaola.
I assume you are working from the second edition, the one in the landscape format, which is definitely preferable in being based on the composer's final pencil draft, as distinct from the first edition, which was based on an earlier draft, but of which I gather copies are still in circulation.
I didn't know this! I started by working out of a 1990 Gilardino edition (that included the manuscript) which mentioned that Regino Sainz de la Maza premiered the first movement in 1934, but I didn't know that Iznaola studied with him or that he made the first recording. A quick search brought me to a newer edition co-edited by Iznaola and Gilardino. Some of the fingerings are very different, but it still gives me more ideas to work with. I'll have to hunt down that Iznaola recording. Many thanks, Stephen!
OK! Well I can't emphasise too much that its not just fingering, there are important differences in detail. I'll declare my interest here...
I went on various summer schools at which Iznaola was a guest and got to know him a bit as you do in these things. When I was reviewing for Classical Guitar Magazine I ended up reviewing RI's disc on which he'd recorded the José - this would be about 1996 - and I mentioned tangentially that Iznaola had been promoting the piece for years "not that you'd know that from various other sources" (words to that effect). After it was published out of the blue I got a gigantic email - c 60 KB pure text - from Angelo Gilardino, telling me his side of the story, which was basically that he'd not known of Iznaola when the original copy that was passed to him arrived, and he'd been so keen on it he'd put it into print in a couple of months. After a few, initially cautious if not frosty, emails, we were good e-pals so basically I introduced Gilardino to Iznaola, got them to work together on a new edition respecting the composer's clearly final known draft - and I put in a bid to engrave the music too, which I duly did. We worked really hard to make the best possible edition of what the composer wrote, in the light of how Iznaola knew it from Regino, for whom it was written and who had performed the first movement, and in the light of Iznaola's many years of knowing the piece. The editors' prefaces will provide plenty of important background information that you really cannot be without.
Unfortunately that role in bringing the 2nd edition about is not acknowledged in the book, so I perhaps feel the need to air the issue and set the record straight in public now and then!
It bugs me badly that people are still using the first edition, not least because obviously most are using photocopies, which is straight up illegal, but big time that its just not as final a draft as the second.
Point of view other recordings, I would indeed reference other readings and of course the Bream is important, thought I suspect the Watt is also well worth study (I'll be at a recital of his early next year).