I've always considered this one of Turina's finer sets. Here is a composer who is often dutifully churning out pretty picture
postcard miniatures like so much tap water. But when Turina gets going, like here and selected places elsewhere, he can whip up
considerable excitement and attain a steely, fiery brilliance, which should be played to the hilt. However I mostly miss that excitement
and proud Spanish strut here. The two outer movements should really be much faster and tauter, with more rhythmic snap, sharp
attacks, and dynamic contrast. The sun is burning, and tempers ought to get hot !
Technically not much wrong here, all the notes are there, but be wary of flabby rhythms and sudden cautious delays between jumps. Live dangerously ! Amor y muerte, ole
1 - Hardly "Allegro vivo"
Penultimate page, at the start of the Moderato quasi allegretto, I think the low RH note should be E, not D, even if it's evidently printed a little too low.
Same page, 3rd bar from end, wrong RH rhythm in the 2nd half of the bar.
Last page, observe the Allegro vivo. Greate excitement should be building from here to the end.
12th bar from end, I have always played the LH low char on A flat. I believe the B flat to be a misprint. Could be wrong though.
2 -Overall a nice sonorous performance.
I'd personally observe the slurs in the first couple of bars, by leaving just a little air between the phrases.
Your tempo seems unsteady, more Largo than Andante, and as from bar 7 it suddenly gets much slower still.
In the Exaltado episode, the dotted figures need to more sharper rhythmically.
On the last page, the ff bars are rhythmically vague.
The ending could be softer and more quasi irreal
. Easier said than done though.
3 - Much too slow and tame. Where are
these serpents ? The blazing conclusion does not sweep all before it as it should.
Sorry to be a bit critical, but I feel strongly about this set (which I got to know from a splendid old LP played by Cristina Ortiz, who really goes hell for leather here).