{"product_id":"clara-rodriguez-plays-the-piano-music-of-federico-ruiz-1","title":"Clara Rodriguez plays the piano music of Federico Ruiz","description":"\u003cb\u003ePerformances alive with vitality in well defined recordings.\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e Clara Rodríguez has been recognised for some time now as an ideal pianist to perform missionary work on behalf of Latin American composers. She has performed the works of Venezuelan Federico Ruiz with fidelity and has earned the dedication of some of them;  \u003cem\u003eTropical Triptych\u003c\/em\u003e and  \u003cem\u003eNocturne\u003c\/em\u003e were written for her.\u003cbr\u003e   \u003cbr\u003e  The music in this recital reflects an interesting range of influences, dance patterns and stylistic affinities.  \u003cem\u003eMerengue\u003c\/em\u003e, composed in 1994, establishes Ruiz’s penchant for rhythmic vitality and romantic refinement. There is a long cycle of small character pieces called  \u003cem\u003ePieces for children under 100 years of age\u003c\/em\u003e, written between 1982 and 1994. Droll as the title is, it wouldn’t matter much were the music dull. That, assuredly, is not the case. There are hints of a Latin Chopin in the opening Prelude, whilst he summons up the spirit of Chaplin ( \u003cem\u003eCharlot\u003c\/em\u003e) in the second piece of the set. This turns out to be a touch of Ragtime, so it’s not properly Chaplin that’s being evoked, it seems to me, more the piano accompaniment provided in cinemas and movie theatres to some scenes from his films.  \u003cem\u003eOur Lady of Sorrow\u003c\/em\u003e is properly wistful whilst there’s great charm to  \u003cem\u003eMagic Dream\u003c\/em\u003e. It’s important that he establishes mood quickly in these pieces as they are all so short – none is longer than three minutes.  \u003cem\u003eThe Dictator rides a moped\u003c\/em\u003e is amusing for its out of control sequence; Dictators clearly can’t ride them. Debussy haunts the  \u003cem\u003eEncounter of Antonio and Florentino\u003c\/em\u003e and there’s a laconic Cha cha cha further on in the sequence. Altogether this is a lively, imaginative and witty set.\u003cbr\u003e   \u003cbr\u003e  The  \u003cem\u003eThree Venezuelan Waltzes\u003c\/em\u003e, composed during the 1980s, are disparate but bound together by their origin in the waltz. The  \u003cem\u003eNocturne\u003c\/em\u003e is somewhat different, being rather chromatic and obviously effusive, and it’s played by its dedicatee with aplomb. Very different again, indeed the work of a much earlier Ruiz, is the  \u003cem\u003eMicro-Suite\u003c\/em\u003e of 1971. The five succinct movements, more succinct indeed than the children’s pieces, are decidedly Webern-like, and suggest the journey Ruiz has undertaken from this rather formalised use of twelve-tone, to his later absorption of local models and rhythms.\u003cbr\u003e   \u003cbr\u003e  We return, finally, to a more recent Ruiz in the shape of  \u003cem\u003eTropical Triptych\u003c\/em\u003e composed in 1993. When Ruiz conjoins rhythmic brio with lyrical intensity, as here, the results are idiomatic and exciting. His propensity for Ragtime, and a bit of Gottschalk, Ginastera and Milhaud certainly doesn’t hinder him either.\u003cbr\u003e   \u003cbr\u003e  To these qualities and affiliations one can add that he writes, so it seems, with considerable pianistic affinity. The performances manage to get across this vitality in well defined recordings.\u003cbr\u003e  \u003cbr\u003e  -- Jonathan Woolf, MusicWeb International\u003cbr\u003e","brand":"Nimbus","offers":[{"title":"CD","offer_id":49644143870232,"sku":"710357617928","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/1991360.jpg?v=1777772202","url":"https:\/\/hbdirect.com\/products\/clara-rodriguez-plays-the-piano-music-of-federico-ruiz-1","provider":"HBDirect","version":"1.0","type":"link"}