Apparently Alexander-Sergei Ramírez is incapable of eliciting the slightest ugly sound from his guitar. In the three-movement composition La Catedral that opens his all-Barrios recital, the dulcet melody line and weaving accompaniment seem to emerge from different instruments, and the Allegro Solemne’s toccata-like patterns are ravishingly tinted. Notice, too, how Ramírez gorgeously differentiates his articulation throughout the eloquent Confesíon and clarifies the G minor Prelude’s Bachian discourse through subtle rhythmic distensions. Las Abejas reveals Ramírez’s super-suave command of quicksilver arpeggios and slurs.
If anything, the effortless refinement of this guitarist’s mastery almost makes this music sound too easy. As a consequence, pieces based on dance forms, such as the D minor Valse Op. 8 No. 3, Aire de Zamba, Danza Paraguaya No. 1, and the Mazurca Apasionada, lack the inner rhythm and vivid accentuations I admire in Antigoni Goni’s treatment of Barrios compositions in similar genres. Even in the relatively undemanding Villancido de Navidad Goni’s intonation in thirds is superior and her firmer delineation makes Ramírez sound relatively effete. Although DG’s cushy, reverberant acoustic perfectly suits the guitarist’s interpretations, there’s simply more grit and passion to this repertoire than Ramírez’s remarkable instrumental gifts let on.
