{"id":15687,"date":"2021-02-02T13:36:41","date_gmt":"2021-02-02T21:36:41","guid":{"rendered":"https:\/\/classicalguitarmagazine.com\/?p=15687"},"modified":"2021-07-13T14:46:26","modified_gmt":"2021-07-13T21:46:26","slug":"around-the-world-with-classical-guitar-editor-blair-j-s-10-favorite-albums-of-2020","status":"publish","type":"post","link":"https:\/\/classicalguitarmagazine.com\/around-the-world-with-classical-guitar-editor-blair-j-s-10-favorite-albums-of-2020\/","title":{"rendered":"Around the World with Classical Guitar: Editor Blair J.’s 10 Favorite Albums of 2020"},"content":{"rendered":"\n

BY BLAIR JACKSON<\/strong><\/p>\n\n\n\n

In keeping with the strangeness of 2020, assembling my traditional list<\/a> of favorite classical guitar albums of the past year was a somewhat unusual exercise for me. In previous years, I’ve methodically listened to and in most cases reviewed the albums that make my eventual list as the year progresses. But everything went haywire this year: I didn’t review nearly as many albums as I wanted to (I hope to remedy that in 2021!), and working at home, I often didn’t get into my usual rhythm of listening to music while I toiled away at the ol’ computer, so I have a larger-than-usual stack of 2020 releases still waiting for me as we plunge into the new year. <\/p>\n\n\n\n

Nevertheless, I savored many excellent releases and, as always, it was difficult whittling the list down to just ten. The usual caveats apply: I’m not calling these the “best” or “most important” albums of the year; just my favorites<\/em>, the ones that spoke to my soul most. They reflect my own, arguably conservative, tastes. It wasn’t until I had made all my choices that I discovered that my list tilts heavily toward the integration of classical guitar into world music forms, and that four of the ten feature either guitar duos, or the guitar in combination with other instruments. A few are ones I reviewed over the course of 2020, but most are not. I also have included links to places where the albums can be streamed and\/or purchased, but needless to say, you are not limited to the sites we’ve mentioned. <\/p>\n\n\n\n

Ga\u00eblle Solal<\/strong>
Tuhu<\/em>
(Eudora)<\/h3>\n\n\n\n
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French guitarist Ga\u00eblle Solal<\/a> has been obsessed with Brazilian music (among various other styles) since being part of a Villa-Lobos festival in 2009, and then making a subsequent trip to Brazil. The sweet fruit of that obsession is this remarkable and inspiring album featuring works by Heitor Villa-Lobos (1887-1959) “and also pieces by other composers who either had an influence on or were influenced by his music,” Solal writes in the liner notes of this 15-track album. Villa-Lobos has been “trendy” for a number of years now\u2014rare is the up-and-coming (or well-established) guitarist who doesn’t include a work or two in her or his repertoire\u2014and with good reason: Villa-Lobos’ writing seamlessly blended strains of various Brazilian folk music forms with sophisticated classically influenced structures and ideas. He was a master of melody, harmony, and<\/em> rhythm. Solal’s album offers seven Villa-Lobos works\u2014including popular selections such as “Ch\u00f4ros No. 1,” two parts of the Suite Populaire Bresilienne<\/em>, the ubiquitous (but always welcome!) Prelude No. 2,” and “Modinha”\u2014and then surrounds them with stellar, well-known works by Brazilians likes Pixinguinha, Egberto Gismonti, Guinga, Jobim, and Garoto; with two Villa-Lobos\u2013inspired works by Frenchman (and teacher and friend of Solal’s) Roland Dyens rounding out the collection with his some of his characteristic verve and zest. The playing is faultless throughout and the repertoire\u2014heavy on the balladic side\u2014manages to be both crowd-pleasing and somehow perfect<\/em>. What a jewel of an album!<\/p>\n\n\n\n

The album can be purchased\/streamed through Amazon<\/a> and iTunes\/Apple Music<\/a>, and streamed via Spotify <\/a>and YouTube<\/a>.<\/p>\n\n\n\n

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