Capable of playing any type of guitar, on the evidence so far, in any style he chooses, Sean Shibe has returned to the classical tradition for his latest album, Profesión (Pentatone). The title is taken from Profesión de Fe (“profession of faith”), a poem by Agustín Barrios (1885-1944), the Paraguayan composer-guitarist whose singular story is alluded to in the CD notes. His La Catedral is one of the highlights here, along with works by two other South Americans: the Brazilian Heitor Villa-Lobos (12 Etudes) and the Argentinian Alberto Ginastera (Sonata). All were written originally for guitar. Sensuous, virtuosic, beguiling, Profesión draws the listener in, through the range of music as well as the irresistible quality of the playing. Shibe plays a Hauser copy that belonged to the late, great guitarist Julian Bream, a predecessor pioneer in expanding the instrument’s repertoire.
If one guitar is not enough, try Anthony Burgess: Complete Guitar Quartets (Naxos), played by the Mēla Guitar Quartet: novel adventures in sound, with world premiere recordings, by the composer-novelist.
The Gallic jauntiness of Darius Milhaud’s Scaramouche could ease the festive mood when the going gets heavy. This short, three-movement suite, the composer’s best-known work, opens Poulenc, Debussy, Milhaud, an album of French music for two pianos performed by duo partners Charles Owen and Katya Apekisheva (Orchid Classics). At its heart is Poulenc’s Sonata for Two Pianos (1952-53), which starts with a slow prologue, weighty and atmospheric, flips to a madcap allegro then finds its true voice in the profound “andantino lirico”, before a frenzied epilogue. Other works by Poulenc are featured: the delicious waltz L’Embarquement pour Cythère, Capriccio, Elégie and Sonata for Four Hands. To conclude, the duo play Debussy’s Trois Nocturnes, in the arrangement for two pianos by Ravel. This is playing of great elegance and spirit.