The Scarbó Duo pays tribute to José Luis Turina

By Tomás Marco
(Review published in Scherzo magazine. Madrid, November 6, 2022)


José Luis Turina stands as one of the most prominent figures in contemporary Spanish composition, clearly leading his generational cohort. Consequently, his concert appearances always generate interest, especially when, as in this case, it involves a monographic homage offered by the COMA festival on the occasion of his 70th birthday. The concert also provided an opportunity to discuss the upcoming release of the album titled José Luis Turina: Works for Piano Duo, to be recorded by the Scarbó Duo, consisting of Laura Sánchez and Cristina Lucio-Villegas. Both demonstrated their technical prowess and musical competence in a recital that undoubtedly encouraged anticipation for the recording, given the excellence of both the compositions and the performances.
Turina's compositions for piano duo are diverse and of high quality, spanning back to 1981 with the Variations on “Don Giovanni”, a piece that has circulated widely but was omitted from this program. This work highlights two significant aspects of Turina's career: his fascination with Mozart and his original and creative approach to variation as a musical construction tool. Two more Mozart-inspired compositions were featured: the Variations and Theme on the Theme with Variations “Ah, vous dirais-je, maman!”, from 2008, a marvel of compositional skill transformed into communication and expressiveness.
Dedicated explicitly to the performing duo, this piece functions perfectly as a two-way street, a unique dialogue between the old and the modern composer. Turina initially composed it in two sets for violin and piano, but in this version, the intricate interplay of technical refinement and musical allure shines through, transforming it into not merely variations on a theme, but a theme gradually shaped by its own variations. It's a display of compositional virtuosity and music of significant value.
Equally noteworthy is the Encore alla turca from 2014, based on the Turkish March from Mozart's Sonata in A major, K. 331. It's a short but ingenious piece, delightful, almost mischievous, and it works exceptionally well. These two works were for two pianos; the rest were for piano four hands.
Not all compositions were inspired by Mozart. The Variations on Themes by Turina from 2009 are a sort of familial dialogue with his grandfather, the famous and now classical Joaquín Turina, where fond memories and affectionate sentiments coexist with distinct and equally valuable personalities.
There were also two more abstract works: the Three Palindromes from 1996, so cleverly written, based on verbal palindromes (which are not read but understood), showcasing the essential palindromic capacity of music, especially when it emanates from a master composer of Turina's caliber. And the Sonata and Toccata from 1990, which demonstrates music's inherent tendency to embrace content and form within a continuous stream where the composer must express themselves with their voice and talent beyond any external reference. And indeed, José Luis Turina achieves this, turning speculative construction into sonic allure, resulting in serious, resolute, and abstract works of great beauty.
We witnessed important works performed flawlessly. Laura Sánchez and Cristina Lucio-Villegas are pianists with broad technical skills and remarkable expressive abilities, but as the Scarbó Duo, they not only complement each other magnificently but also acquire a personality and capacity that perfectly showcase each piece. While the compositions heard are undoubtedly of undeniable quality and significance within our panorama, the manner in which they were presented was the best and most fitting, constituting one of the most interesting concerts of this COMA, which is already progressing brilliantly towards its conclusion.