After a conspicuous absence of over two decades, the complete solo recordings of Narciso Yepes are again in print internationally:
Someone at Deutsche Grammophon is to be commended for bringing that label to its senses in this respect. Something has budged. Some ten years ago, when encouraged to do so, some head honcho at DG still replied with nonchalant intractability that “There is enough of Yepes already” – while his finest interpretations were unknown to guitarists and complete box sets of Segovia – and the less salable Bream – were, of course, available. Needless to say, in the post-print, digital-download era of music, there was no “economic” excuse for this suppression. But, happily, the situation has finally been remedied.
And yet… Unfortunately someone else at DG – whoever is responsible for commissioning booklet notes – is once again to be censured for a lack of historical awareness and the insult that they bring to the work of Yepes by associating it with the writing of one of the chief architects of anti-Yepes bigotry. Is it not high time to recognize the outdated but lingeringly toxic influence of such so-called guitar experts as Graham Wade – who long denigrated the non-formalist approach of Yepes as “wayward” and “destructive”; who promoted such untenable and deleterious ideological positions as the belief that “true creativity…[is] a continual extinction of personality”, that there is only one permissible tempo or interpretation (which happens to be Segovia’s or Bream’s); and who encouraged the “cast[ing]…into outer darkness” of artists (Yepes, first and foremost) who did not parrot Segovia’s particular brand of formalism (a.k.a. “Apollonian restraint”)?
So, regrettably, one has to say, with mixed feelings: Congratulations, DG, and shame on you.
A highly recommended set of very important recordings, nonetheless.
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Tracks that used to be unavailable and/or are of particular interest are highlighted below, in bold: