by Seamus Fitzpatrick
With Nerja, Rafael Riqueni delivers an enjoyable, concept-driven work that extends his long-standing dialogue between flamenco tradition and classical compositional language. Framed as a descriptive fantasy inspired by the discovery of the Nerja caves in 1959, the album unfolds as a suite, but not in the formal sense, but more as a series of interconnected character pieces. Each track is grounded in flamenco rhythm while colored by impressionistic harmony, layered guitar orchestration, and carefully shaped dynamics.
Riqueni’s approach is integrative with a balance of world flamenco and classical crossover sounds. Rather than placing flamenco and classical elements in contrast, Nerja treats them as mutually reinforcing systems. This is done by coloring the rhythm and cadences rooted in tradition and reaching outward for harmony and form. The result is an album that feels structurally intentional, emotionally cohesive, and technically instructive for listeners interested in cross-genre composition and performance.
The core sonic palette centers on multiple guitars, occasionally expanded with cello, and presented through warm, transparent production. The recording favors warmth, allowing individual voices to remain distinct even in denser passages. Layering is balanced in the multi-instrument moments. Guitars often function as an ensemble rather than a soloist-plus-accompaniment hierarchy, creating a chamber-like intimacy across much of the record.
Rhythmically, flamenco forms provide the backbone. Even when tempos relax or textures thin, cadential figures consistently reference traditional flamenco closures, anchoring the music in its lineage. At the same time, harmonic movement frequently leans toward classical impressionism, with modal shifts, extended color tones, and romantic melodic contours shaping the album’s expressive sound.
“Jóvenes” sets the album’s aesthetic and narrative tone. Built on a flamenco-based rhythmic framework, the piece introduces impressionistic harmonic movement and a flowing, romantic melody. Multiple guitars create layered textures that expand and contract dynamically as the composition moves through contrasting sections. Subtle ambient effects, such as wind-like sounds, enhance the sense of place without distracting from the musical material. Each section resolves with a clearly defined cadential gesture, reinforcing flamenco tradition even as the piece explores shifting densities and emotional states. Riqueni’s tone throughout is warm and fluid, serving the narrative rather than dominating it.
“Bulería del Alma” brings rhythmic clarity and forward momentum. An upbeat flamenco melody opens the track, immediately establishing the bulería form. The guitars are balanced carefully, supporting both the groove and the melodic flow without overcrowding the rhythmic space. Riqueni develops the form through a thoughtful alternation of single-note passages and rhythmic hits, maintaining tension while allowing the structure to unfold naturally. The track exemplifies how Nerja treats tradition as a living framework with disciplined, but flexible, structures.
“Con la Luz de tus Ojos” leans decisively toward the album’s classical side. Featuring guitars alone, the track centers on a romantic melody supported by a flowing accompaniment that carries flamenco-inflected rhythmic motion. Each guitar is recorded warmly, with attention to blend and balance rather than spotlighting. The production emphasizes nuance and space, allowing harmonic color and phrasing to guide the emotional contour. It’s one of the album’s most intimate moments, highlighting Riqueni’s restraint and compositional focus.
“Nana” functions as an emotional ballad within the flow of the record. Opening with a haunting cello melody, the piece establishes a reflective, nocturnal atmosphere. Guitar chords enter gently, supporting the cello before Riqueni joins melodically, weaving accompaniment figures around the shared line. The ballad-like time feel allows for elongated pauses that create space for breath and resonance. Flamenco accents and harmonic color emerge subtly, and at the midpoint, Riqueni’s right-hand tremolo adds a romantic shimmer without breaking the piece’s calm. The guitar–cello dialogue feels conversational and deeply considered, merging flamenco inflection with classical lyricism.
Across the album, Riqueni demonstrates a strong sense of form. Pieces are clearly structured, with deliberate pacing and well-defined sectional transitions. Virtuosic display builds into the writing, which prioritizes thematic development, textural contrast, and harmonic continuity. The conceptual inspiration of discovery, exploration, and reflection is expressed through musical means rather than overt narrative devices, making the album accessible without requiring programmatic explanation.
Nerja offers valuable insight into ensemble guitar writing, hybrid harmonic language, and the use of traditional rhythmic forms within contemporary compositional contexts. It also serves as a reminder that crossover work is most effective when it respects the internal logic of each tradition involved.
Nerja stands as a refined and thoughtful addition to Rafael Riqueni’s catalog. It is not a radical departure, but a carefully balanced synthesis of flamenco rhythm, classical harmony, and modern production sensibility. For listeners interested in world music, flamenco evolution, or cross-genre composition, the album is built on clarity, depth, and intention. The qualities that define Riqueni’s voice at this stage of his career. That’s the short of it!
