The four works recorded here
usefully span Montsalvatge's long creative life and encompass different
parts of his large and varied output while also providing a welcome
opportunity to appreciate his stylistic progress over all these years.
Montsalvatge's idiom is clearly of its time and often embraces various influences without ever attempting at pastiche or parody. His global outlook is that of a composer happy to work within some well-meaning Neo-classicism often spiced with piquant dissonances and polytonality that sometimes bring Milhaud to mind. This is fairly clear in the Partita which earned him the 1958 Oscar Esplà Prize. The Partita as well as the Cincos Canciones Negras and the Calidoscopi simfònic also displays another characteristic of Montsalvatge's music at the time, i.e. the reliance on some exotic dance rhythms such as the habanera. The Partita is in four compact movements without any real connection between them. The Neo-classical tone of most of the music is still more evident at the close of the third movement when it nods (consciously or not) to the Gavotte from Prokofiev's First Symphony. This most attractive work ends with a joyful final, at times fugal movement that also includes a section for percussion alone.
Montsalvatge's idiom is clearly of its time and often embraces various influences without ever attempting at pastiche or parody. His global outlook is that of a composer happy to work within some well-meaning Neo-classicism often spiced with piquant dissonances and polytonality that sometimes bring Milhaud to mind. This is fairly clear in the Partita which earned him the 1958 Oscar Esplà Prize. The Partita as well as the Cincos Canciones Negras and the Calidoscopi simfònic also displays another characteristic of Montsalvatge's music at the time, i.e. the reliance on some exotic dance rhythms such as the habanera. The Partita is in four compact movements without any real connection between them. The Neo-classical tone of most of the music is still more evident at the close of the third movement when it nods (consciously or not) to the Gavotte from Prokofiev's First Symphony. This most attractive work ends with a joyful final, at times fugal movement that also includes a section for percussion alone.
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