MUSIC REVIEWS : A Sharply Pointed Pops Performance

There was plenty of virtuoso talent and sophisticated artistry onstage, Wednesday at Ambassador Auditorium, where guitarist Manuel Barrueco and harpist Nancy Allen shared a recital.

It was displayed, however, in a generous but largely pops program packed with arrangements--even arrangements of arrangements. The lack of original repertory suggests that the imperatives of this combination may be more a matter of marketing than music-making.

The duo saved the best for last. Mario Abril’s adaptation of Falla’s “El amor brujo” music exploited the distinctive characteristics of each instrument, in a vividly colored, yet idiomatic score faithful to the cante jondo roots of the music. There were some frantic moments in the central passions, but otherwise the performance proved sharply pointed and compelling.

Equally effective was Abril’s arrangement of Debussy’s “La plus que lente.” Barrueco and Allen allowed the waltz lithe tenderness, in remarkably liquid, sensitively balanced playing.

Other arrangers have demonstrated that Boccherini’s Introduction and Fandango--originally a quintet finale--works well with guitar and harpsichord, but the tremendous resonance of the harp left the music entirely too fuzzy, despite Allen’s best dampening efforts.

Sor’s “L’encouragement” Fantasia, Opus 34, gave Allen and Barrueco a surprisingly effective vehicle--particularly in their delicately sculpted Introduction--thanks largely to Allen’s restraint. Franck’s Prelude, Fugue and Variations in B minor sounded diffuse on these instruments, all velvet and no edge.

Each musician had a short solo set, with which they asserted their impressive skills in less constrained circumstances. Allen offered Faure’s Impromptu, Debussy’s “Clair de lune” and Ravel’s “Laideronette, imperatrice des pagodes,” in supple, stylish accounts. Barrueco provided a bit of repertory novelty with four of Chick Corea’s Children’s Songs, delivered with taut control, and Albeniz’s “Asturias.”

A pervasive electronic buzz did nothing to lessen their concentration, or the enthusiasm of the large audience. In encore the duo presented Granados’ Spanish Dance No. 2, quiet, cool and gleaming with harmonics.