Notas para el CD del Trío Arbós "Integral de los Tríos con piano de Joaquín Turina" / Notes for the CD of the Trío Arbós "Complete Piano Trios by Joaquín Turina"

Published in the booklet for CD Naxos 8.555870


In the extensive output of Joaquín Turina, alongside the music that could be labeled as concrete -brimming with references to Spanish folklore, primarily Andalusian- a notable selection of abstract works shines with its own light. In these pieces, while Turina does not shy away from employing nationalistic melodic and rhythmic patterns, the primary focus for the composer lies in developing them within deeply rooted formal frameworks.
These works are, for the most part, dedicated to chamber music, where Joaquín Turina expertly blended his finest doses of Spanish inspiration with a rigorously European compositional technique. This remarkable synthesis benefits both components of such a unique combination: the local flavor transcends folkloric superficiality, enhanced by contact with the noble and disciplined procedures of classical forms, while the academic rigor of these formal structures is softened by the spontaneity and freshness imparted by melodic, harmonic, and rhythmic inflections that infuse them with new vitality and energy. Unlike some of his contemporaries, Joaquín Turina achieved an admirable and rare synthesis of the popular and the learned in his chamber music, a feat possible only for someone who has equally immersed himself in both traditions.
Thus, Turina's major works are primarily constructed on formal schemes that any informed listener, even with only a superficial knowledge of the subject, can identify without much difficulty: themes with variations, fugues, sonatas, rondos, Lieder-like sections, etc. What makes his music truly original is that these forms are never "pure" in the classical sense; instead, they are imbued with melodic, harmonic, and rhythmic treatment derived from Turina's very personal assimilation of Spanish folklore, especially Andalusian, and its subsequent adaptation to these forms.
Out of the 104 works in Joaquín Turina's catalog, 16 are devoted to instrumental chamber music -that is, composed for an ensemble of two or more instruments. What is particularly noteworthy is not the quantity, which is modest, but the apparent deliberate intention to prioritize the most traditional classical and romantic chamber combinations. This approach aligns perfectly with the traditional training Turina acquired at the Schola Cantorum and is remarkable, considering that in the output of the other three great Spanish composers of the early 20th century (Albéniz, Granados, and Falla), chamber music for traditional ensembles is almost entirely absent. Among these 16 works are three string quartets (including the renowned Oración del torero, in the composer's transcription from the original version for lute quartet), three piano trios, one piano quartet, one piano quintet, and five violin-piano duos. Conversely, the remaining three pieces are intriguing for their departure from conventional chamber groupings: a sextet for principal viola, piano, and string quartet titled Escena andaluza; a suite of nine movements, each written for a different ensemble, called Las Musas de Andalucía; and a Theme and Variations for harp and piano.
To these 16 works, two more can be added for consideration: a Spanish Sonata for violin and piano and the Trio in F major included in this recording. Both are youthful compositions, written in 1907 and 1904 respectively, and later rejected by the composer, who undoubtedly deemed their immaturity and lack of distinctiveness unworthy of inclusion in his definitive catalog. It is worth noting that, from his early period, only the Piano Quintet was incorporated into his catalog as opus 1. From Opus 2, Sevilla (Suite pintoresca para piano) onward, Joaquín Turina's work decisively embraced a nationalism absent in his earlier music.
However, the rigor with which composers often judge their works' imperfections should not prevent us from enjoying these pieces, albeit with the awareness that we are dealing with compositions written during formative years or failed attempts at achieving something greater.
The three Piano Trios (Trio in D major, op. 35; Trio No. 2, op. 76; and Círculo, op. 91) represent the most solidly developed segment, alongside his violin and piano duos, of Joaquín Turina's chamber music output. The Trio in D was composed between 1925 and 1926, earning a diploma and a cash prize of 3,000 pesetas in the Spanish National Music Competition. Its second movement stands out for its originality, featuring a theme followed by five variations on characteristic Spanish dances.
The Trio No. 2 in B minor, composed between 1932 and 1933, was initially conceived as "Three Nocturnes". Its first movement is notable for its expansive opening phrase with romantic Brahmsian overtones, momentarily making one forget the nationalist character that soon emerges in a masterful synthesis of both aesthetic currents. Meanwhile, Círculo, completed in 1936, offers an original succession of three movements ("Dawn," "Midday," and "Dusk") where the solar cycle supports cyclic treatment of the musical material.
Despite the excellent quality of these three trios, the true highlight of this recording is the Trio in F major, resurrected from nearly a century of obscurity. Composed in Seville in 1904, its official premiere occurred on May 31 of that year at the Sala Piazza in Seville, performed by violinist Fernando Palatín, cellist Antonio Ochoa, and Turina himself at the piano. The piece is contemporary with the Piano Quintet, which, after a significant revision in 1906, became opus 1 of Turina's definitive catalog.
The Trio in F major comprises four movements (I. Lento-Allegro; II. Andante; III. Allegro alla danza; IV. Andante grandioso), its form and style drawing heavily from the Romantic tradition and César Franck's aesthetic. This is evident in its extensive chromaticism and striking modulations, often employing enharmonic techniques. The thematic material also receives cyclic treatment, with direct references to earlier movements appearing in the final one. Viewed with nearly a century of hindsight, it is clear how decisively the Parisian choice between the Schola Cantorum and the Conservatoire shaped Turina's path.
While the Trio in F may lack a distinct aesthetic orientation and exhibits some impersonal traits, its music, oscillating between grandeur and frivolity -Turina had undoubtedly enjoyed countless evenings of "salon music"-, remains far from dismissable. The frequent successes outweigh its shortcomings, especially in the charming scherzo in 5/4 time that constitutes the third movement -a true gem of the genre despite its youthful nature. This piece, therefore, earns its rightful place in the otherwise scant Spanish chamber repertoire of its time.

Madrid, November 2000