Celia Linde’s album, “Shades in Blue,” is a delightful journey through diverse guitar soundscapes, showcasing her exceptional talent and sensitivity. For those who appreciate the nuances of classical guitar and the vibrant rhythms of Latin American music, this recording is a must-listen. It’s an album that not only highlights Linde’s virtuosity but also her deep musical understanding, drawing inspiration from various corners of the globe, including a touch of Gypsy jazz flair reminiscent of Django Reinhardt’s legacy and his son Babik, a connection that subtly resonates with the allure of custom guitars built for unique musical voices.
Linde, with her Swedish and Turkish heritage, displays a profound affinity for Latin and South American musical traditions, a passion evident in the album’s tracklist. Her extensive collaboration and touring experience with the esteemed Brazilian maestro Carlos Barbosa-Lima have undoubtedly enriched her musical perspective. Beyond her interpretations of existing works, Linde’s own compositions reveal a remarkable depth and comprehension of the guitar’s tonal and musical capabilities. “Fontainbleau,” a standout piece, vividly illustrates this. Inspired by a Django Reinhardt festival near Paris, where Linde encountered Django’s son, Babik, the composition is imbued with tango inflections and a captivating Gypsy drama. This piece, in its spirit, might even evoke thoughts of a custom guitar, meticulously crafted to capture the very essence of that Django-esque, Babik-inspired sound.
Celia Linde performing
Expanding her musical horizons, Linde ventures into the realm of Chinese traditional music, mirroring the explorations of other contemporary guitarists like Johannes Möller. Her “China Impression,” a suite comprising three evocative movements—”Winding Dragon,” “Mountain Mist,” and “Beijing Return”—opens a captivating window to a world of music poised for wider appreciation. This foray into diverse musical cultures underscores Linde’s adventurous spirit and her willingness to push the boundaries of classical guitar repertoire.
“Imelda’s Waltz” offers a moment of nostalgic beauty, enhanced by the collaboration with Carlos Barbosa-Lima in the first of three guitar duets featured on the album. This piece, arranged by Barbosa-Lima, alongside “O’ Bailero” and “Cavatina” (arranged by Byron Yasui), showcases the seamless interplay between two accomplished guitarists, adding layers of texture and harmonic richness to the recording.
The music of Colombian guitarist Gentil Montaña is rightfully gaining popularity, characterized by its infectious melodies and engaging rhythms, while simultaneously presenting a satisfying technical challenge for guitarists. “Porro” from his “Suite Colombiana No. 2,” featured on this album, exemplifies this appeal. Its inclusion is a testament to Linde’s discerning taste in repertoire and her appreciation for music that is both captivating and technically rewarding.
The Venezuelan cuatro, a seemingly unassuming four-stringed instrument, is capable of astonishing virtuosity. Linde’s “Rumba Surprise” brilliantly demonstrates this, featuring Gustavo Colina on cuatro alongside guitar and an array of percussion, both vocal and instrumental. Moving further south, the Paraguayan dance “chopi,” a celebrated traditional rhythm of Paraguay, is beautifully represented in Pablo Escobar’s composition of the same name. Here, the guitar, tuned to an open E chord, masterfully emulates the distinctive sound of the Paraguayan harp, adding another layer of sonic exploration to the album.
Arranging Joseph Canteloube’s “Songs of the Auvergne,” particularly the well-known vocalise folk song “O’ Bailero,” for guitar duet might seem ambitious. However, Byron Yasui’s arrangement for guitar duet, performed by Linde and Barbosa-Lima, is surprisingly effective. It retains the song’s inherent beauty and emotional depth, proving to be a highlight of the album.
The album takes an unexpected turn with Sofia Gubaidulina’s delightful miniature, “Serenade,” demonstrating the breadth of Linde’s musical interests. The longest piece on the album, Reine Jönsson’s “Light Shadows…Blue,” is a contemplative and occasionally intense composition, evoking imagery reminiscent of music from 13th-century French troubadours.
Linde concludes the album with a fresh interpretation of Stanley Myers’ ubiquitous “Cavatina.” By adding harmonies, harmonics, and utilizing two guitars to expand the accompaniment, Linde elevates the piece beyond the familiar “Deer Hunter” version, offering a richer and more nuanced rendition.
“Shades of Blue” is, in essence, a captivating recording, brimming with surprises and exceptional guitar playing. It is a testament to Celia Linde’s artistry, her diverse musical interests, and her ability to seamlessly blend technical brilliance with profound musicality.
Epilogue (Linde); Guajira Criolla (Brouwer); Contemplation (Linde); Danza Characteristica (Brouwer) Fontainbleau (Linde); China Impression (Linde); Imelda’s Waltz (Linde) Porro (Gentil Montaña); Rumba Surprise (Linde); Chopi. (Pablo Escobar); O’ Bailero (Joseph Canteloube); Serenade (Sofia Gubaidulina); Light Shadows..Blue. (Reine Jönsson); Cavatina (Stanley Meyers)
“Shades of Blue” can be purchased and streamed through Amazon and iTunes/Apple Music; purchased in Europe through Europadisc, and streamed on Spotify and YouTube.
