Justin Holland: Guitar Works and Arrangements (Christopher Mallett)
Naxos American Classics

Five years ago, Duo Noire's Night Tryptych paired American classical guitarist Christopher Mallett with fellow guitarist Thomas Flippin on a set featuring works by Clarice Assad, Gity Razaz, and others. On his recently issued solo release, Mallett limits his attention to a single figure, Justin Holland (1819–87), a Norfolk, Virginia-born African American now regarded as the most influential American classical guitarist of the nineteenth century. Holland isn't the sole composer featured, however: as its title indicates, Guitar Works and Arrangements features originals by him as well as his treatments of works by others.

Mallett's virtuosic command is evident throughout the hour-long set. Yet while dazzling runs are present (see Alfred Humphreys Pease's “Antoinette Polka Mazurka,” for instance), what resonates most of all are the sensitivity and humility of his performances. Touch, timing, dynamics, and feel are exquisitely considered by the California-based guitarist in his renderings. By shining a spotlight on Holland, Mallett shows himself to be an inspired educator with respect to American music history too. Adding to the project's value, half of its fourteen selections are world premiere recordings.

Holland, a powerful voice in the anti-slavery and civil rights movements, published thirty-five originals and 300 arrangements of European operatic themes and American popular songs. As a Boston teenager, he heard Spanish guitarist Mariano Perez and began taking lessons soon thereafter. After studying at Oberlin Conservatory in Ohio in the early 1840s, he learned Spanish in Mexico in order to absorb the methods of guitar masters Fernando Sor and Dionisio Aguado and by the end of the decade had begun publishing. Guitar Works and Arrangements makes clear Holland's love for popular songs and material that bridges the gaps between folk, classical, blues, gospel, and jazz.

Setting the tone, “Delta Kappa Epsilon March” by Alfred Humphreys Pease (1838–82) instantly entices with driving triplet rhythms, scale patterns, and jovial melodies expertly delivered by Mallett. Things take a tender turn on the next song, “'Tis the Last Rose of Summer,” which gracefully weaves strains of Celtic folk music into its American song fabric. Holland's treatment progresses from an initial voicing of the theme to a series of spirited variations, as do “Spanish Fandango” and “Sweet Memories of Thee,” both of which testify to the broad geographical reach of Holland's interests.

Time and time again, Mallett impresses in his execution, emotion and technique operating hand in hand to produce music of consummate artistry. Note, for example, how closely he (and in his arrangement Holland too) hews to the melody in “Home Sweet Home” by Henry Bishop (1786–1855). One could picture some of these songs played around a campfire, “Last Waltzes of a Madman” by Ferdinand Beyer (1803–63) an example. W. H. Rulison's “Rochester Schottisch,” on the other hand, would be perfect for dance night at the county fair.

With respect to Holland's own compositions, his rousing dance setting “An Andante” is one of the album's most infectious, and “Carnival of Venice,” what's generally regarded as his most significant work, features a dozen variations that explore a plethora of guitar sounds and techniques. Chords, runs, arpeggios, and harmonics are utilized as Mallett makes his way through the seven-minute performance. Holland's treatment of “Variations on L. Mason's ‘Nearer, My God, to Thee'” retains the lilting beauty of the hymn, with an initial unadorned voicing followed by an elaboration that's no less beguiling.

July 2023