Joaquín Rodrigo's Concierto de Aranjuez is arguably the most popular work in the entire guitar repertory, and one might reasonably ask whether the world needs one more recording. No one, however, who hears this reading by guitarist Thibaut Garcia and the Orchestre national du Capitole de Toulouse, is going to ask again: it is exceptional. Garcia's performance has a remarkable quality of grace, and grace in reserve, with an uncannily smooth guitar tone. Is it a French, rather than a Spanish, Concierto de Aranjuez? Maybe, but Rodrigo was a student of Dukas, and the liveliness of the dialogues between the guitar and the various instruments of the orchestra, often lost in heavily Spanish-regional performances, are wonderful. Part of the credit, of course, goes to the orchestra and conductor Ben Glassberg. Three more works, as uncommon as the Concierto de Aranjuez is common, fill out the program. There are four short works by Regino Sainz de la Maza, a contemporary of Rodrigo (and the dedicatee and first performer of the Concierto de Aranjuez) who wrote music in a similar vein. The only glimmer of a complaint one might raise against this release is that its Aranjuez title (Aranjuez is an iconic Spanish town near Madrid) refers only to the first two works on the program; after Sainz de la Maza, the music is not just from France but quintessentially French. The Musique de cour d'après Robert de Visée of composer Alexandre Tansman, for guitar and orchestra, is a late piece of French neoclassicism, composed in 1960. It is not a transcription of music by lutenist-composer de Visée but a set of short lyrical fantasies on dances by de Visée, and it has a gorgeous dark quality captured expertly by Garcia. His transcriptions of de Visée close out a superb program, strengthened by ideally clear engineering of the guitar. A landmark recording.