The performer here is Jonathan Edwards, at Eastern Michigan University. I believe this is the same Mr. Edwards now a member of the adjunct faculty at Siena Heights Univ.
At any rate, I was asked whether there would be a particular recording of this piece that I would recommend. A difficult question, mind you; as most have their strong points, but so many have telling flaws.
Personally, my own rendition is very much like Norbert Kraft's. In fact, I took the little slides at a certain part from Kraft for my own. But there's this one note which Kraft hurries through, to his detriment-- and it appears three times.
And of course, I'm just the type that the one note tends to irritate me to no end.
But then, I like to add the D below it on the 2nd & 3rd pass; like so:
At any rate, I've had the Recital CD by Denis Azabagić from Naxos for some time. I've never listened to all of it before. Frankly, I bought it for the allegretto from the Sonatina, and for some Ponce selections that I hadn't heard before. (An interview with Denis Azabagić may be found here; part one and part two.)
A long drive through the countryside changed that not so long ago.
Torroba had an extensive background in theater, and his Sonatina certainly showcases his evocative capacity through music. Azabagić has a very adept command of dynamics which lends itself well to the expressiveness of the piece.
Azabagić plays the allegretto as well as anyone I've ever heard do it. Some of his rhythmic variations in the andante are other than what I'm accustomed to; more akin to what I would associate with a certain style of jazz. I like it very much; it flows very natural and freely. And his command of the dynamics is enviable.
But it's the allegro at the end of the Sonatina that is most amazing. I've always liked the little part at the end of the first statement of theme. It sounds very folksy in a traditional melodic sort of way. I never really had much interest in it past that one part.
But Azabagić's command of dynamics lends this piece its extraordinary quality. The finger roll toward the end is absolutely thunderous, followed by harmonics like gently falling drops of rain. Frankly, Azabagić's rendition of that part tends to make my eyes a bit misty whenever I hear it.
The allegro con brio from Anontio José's Sonata is also a favored piece from the CD.
There are two composers represented that I am wholly unfamiliar with: Antonio Ruiz-Pipó and Carlos Rafael Rivera. Of the two, I would say that I like the Rivera selections the more. These are very unusual pieces, and the dance is unlike anything else I have ever heard; one of those truly unique pieces which seem to define an entirely new style of music. Azabagić's technical mastery shines here, though his command of dynamics is notably present throughout.
I would say that I would have to change my recommendation:
I hope to add some of those rhythmic figures to my own rendition.
Here are a couple of selections (not appearing on the Recital CD) of Azabagić playing the Preludes of Heitor Villa-Lobos.