Suite elfique

"I have come across Jose Luis Narvaez's pieces before, the wonderful Joyce's Suite, being one that immediately springs to mind. This latest suite is a set of three 'danses', all of which have the element of the bizarre in its delivery or harmonies or both. The first is in F# minor and consists of a plodding bass line that continues through much of its 64 bars. A common feature of this piece is the use of a C natural as a dissonance particularly when in direct opposition to the F# minor and its usual C#. It reminded me a little of Koshkin's use of harmonies and his juxtaposition of correct and 'incorrect' notes in a harmony to create a sense of the fantastical. At the speed given there are some moments of demisemiquavers that are really tough to bring off successfully. Danse II is a frenetic 6/8 set in one sharp but which spends most of its time avoiding establishing a sense of key, although this is not through any atonalisms but merely a rather odd set of harmonies that succeeds in making it hard to spot the key. A pulsing bass note that is often off the beat and against the top part rhythmically makes this piece somewhat of a challenge. Danse III again has a bass moto perpetuo over which various musical elements vie for attention including an 'out of key' part where a theme in E minor is repeated a semitone below (D# minor) but still with an open E ringing away. Similar moves to a B minor and then an A minor arpeggio lead back to the opening idea and the constant bass line that ends the piece."

Chris Dumigan (Classical Guitar Magazine)

Avec les trois danses qui la composent, la Suite Elfique de José-Luis Narvàez forme une sorte d’énergique hommage à l’écrivain J.R.R. Tolkien. En effet, on y trouve des danses très rythmées – les indications de tempo étant Saccadé, Frénétique, Emporté- qui demanderont une certaine virtuosité pour prétendre les maîtriser aux tempos indiqués. Basses contrastées et marquées, chant dynamique et enlevé donnent une énergie parfois légère et, par moment, inquiétante tout comme les créatures évoquées. Côté technique, la Danse II demandera une précision irréprochable et un respect des articulations (legato, staccato) pas forcément évident. La Danse I, elle, nécessitera une vélocité de main droite conséquente pour ne pas perdre la pulsation lors des motifs en triples croches, sans oublier les harmoniques sur le motif de basse de la Danse III qui demanderont aussi une attention particulière. Une musique enthousiasmante et originale, pas réellement facile mais qui vaut largement la peine de s’astreindre au léger travail nécessaire. F.N (Guitare Classique novembre 2015)