{"id":12386,"date":"2019-03-13T16:00:24","date_gmt":"2019-03-13T23:00:24","guid":{"rendered":"http:\/\/classicalguitarmagazine.com\/?p=12386"},"modified":"2019-03-13T16:00:24","modified_gmt":"2019-03-13T23:00:24","slug":"yamashita-and-caprichos-de-goya-are-a-perfect-match-in-san-francisco","status":"publish","type":"post","link":"https:\/\/classicalguitarmagazine.com\/yamashita-and-caprichos-de-goya-are-a-perfect-match-in-san-francisco\/","title":{"rendered":"Yamashita and \u2018Caprichos de Goya\u2019 are a Perfect Match in San Francisco"},"content":{"rendered":"
BY BLAIR JACKSON | FROM THE SPRING 2019 ISSUE OF CLASSICAL GUITAR<\/a><\/h6>\n

Kazuhito Yamashita always seems to be pushing the creative envelope. Whether it\u2019s his brilliant guitar arrangements of incredibly difficult classical works, such as Mussorgsky\u2019s Pictures at an Exhibition<\/i>, Stravinsky\u2019s Firebird<\/i>, or Dvor\u00e1k\u2019s New World<\/i> symphony; recording the complete works of Fernando Sor on 16 CDs; or performing all six Bach lute suites in a single day (as I saw him do in San Francisco in 2015); he clearly enjoys making a BIG statement, and he is such a spectacularly talented virtuoso, there doesn\u2019t seem to be anything that is beyond his reach. <\/span><\/p>\n

So there was no way I was going to miss his return to San Francisco on November 17, 2018, at the beautiful Taube Atrium Theater, a modern 300-seat venue built into an architecturally ornate space on the fourth floor of the beaux-arts Veteran\u2019s Building, across the street from San Francisco City Hall. This was the first time the Omni Foundation for the Arts had staged a concert there (they often produce events in the historic 800-seat Herbst Theater on the first floor of the same building), and everyone I spoke with after the nearly sold-out show raved about the sightlines, the acoustics, and comfort level of the Taube. Once again Yamashita treated San Francisco to a special program: This time it was Mario Castelnuovo-Tedesco\u2019s 24 Caprichos de Goya<\/i>, performed in order, 12 in each half of the concert. This was new for me, but not for Yamashita\u2014he introduced and often performed that program way back in 1989, the same year he recorded them. (Others who have recorded the complete Caprichos<\/i> include Lily Afshar, Frank Bungarten, and Zoran Dukic.)<\/span><\/p>\n

The inspiration for Castelnuovo-Tedesco\u2019s sprawling, multi-layered 1961 work is Francisco Goya\u2019s famous late 18th century collection of 80 bitingly satirical and darkly cynical etchings known as Los Caprichos<\/i> (the caprices and follies of Spanish society; particularly the rich). The composer selected 24 to \u201cinterpret,\u201d and as Yamashita performed each section (ranging in length from about two minutes to a little more than six minutes), the corresponding etching (with title in Spanish and English) was projected onto a 25-foot screen behind the guitarist\u2014a great way to connect Goya\u2019s vision with Castenuovo-Tedesco\u2019s music, which covers an incredibly broad range of styles, moods, and tempos. Classic Spanish flavors mingle with light, humorous, mocking passages, elegant balladry, dark diversions, and modern-sounding eruptions.<\/span><\/p>\n

Goya\u2019s Capricho No. 43: \u201cThe Sleep of Reason Produces Monsters\u201d<\/figcaption><\/figure>\n

Yamashita rolled across this varied, interesting, and quite challenging terrain with a true maestro\u2019s confidence and sensitivity, as well as unparalleled skill and style<\/i>: Few other guitarists display as much overt physicality onstage. Is he showboating when his right arm suddenly does a little windmill motion, or when he smoothly push\/pulls the guitar off to his extreme right side? I don\u2019t think so. It feels to me as though he\u2019s just wringing every ounce of emotion out of each phrase, and sometimes that calls for a larger arsenal of motions. Showmanship or not, it\u2019s exciting to see this supreme artist\u2019s commitment to each moment.<\/span><\/p>\n

It\u2019s a testament to Yamashita\u2019s deserved reputation as one of the best players in the world that a veritable who\u2019s who of Bay Area classical guitar professionals (and students) were on hand to see Goya\u2019s and Castelnuovo-Tedesco\u2019s Caprichos<\/i> brought so vividly and compellingly to life. I suspect many of them will be talking about this concert for a long time. I know I will.<\/span><\/p>\n

I couldn’t find any video of Yamashita playing the Caprichos, but here’s audio of the dazzling complete album he recorded:<\/em>
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