One has only to glance at the current Classical Catalogue to see how many times Aranjuez and the Fantasia have been recorded, often coupled on the same disc (not least by these same performers, Philips, 9/84), and to realize that an outright First Choice is no longer realistically possible. What we have here is simply one of the best: Pepe Romero, a close friend of Rodrigo, has the technique to do whatever he pleases, though his capacity for high speed does not tempt him to display it for its own sake. There is elegance and a certain nobility in his interpretations, though he lacks the warmth of Bream, for instance, and the 'flamenco steeliness' of his rasgueados does perhaps stand in uncomfortable contrast with the rest. The ASMF must by now know these scores by heart but, perhaps stimulated by the presence of a soloist who is so completely in command of his material, their immaculate support bears no trace of staleness.
The Canconeta (1923) is one of Rodrigo's earliest works, a small (2'50'') island of peaceful romantic dreams in a sea of guitar music, sweetly played by Ara (Rodrigo's son-in-law) and ignored in the annotation. There is no better recording of the Invocacion y danza, and no other at all of the Tres Pequenas piezas, in the last of which the steely rasgueados are entirely in character. If you are not already liberally provided with recordings of the two main items you may rightly be tempted by this outstanding recording.'