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Pizzaro, Artur - Albéniz Iberia and Granados Goyescas - Albéniz, Isaac / Granados, Enrique



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"Instrumental & Chamber Editor's Choice
Anyone performing these two gorgeous collections of Spanish piano music has to compete with the classic recordings by the great Alicia de Larrocha. That said, there are different ways of doing things - and Artur Pizarro's interpretations offer a richly rewarding alternative view of this music's array of crisp dance-rhythms, smouldering bursts of song and vibrant atmosphere. Pizarro has a marvellous ear for the darkly exotic side of Albéniz's soundworld in Iberia: 'Almeria', for instance, can never have sounded more haunting. And his immense technical strength (it needs to be!) rises in style to challenges such as the 'Fandango' in Goyescas.
Listening Notes
Spanish sounds: The seventh piece of Iberia is 'El Albaicín', Granada's old gipsy quarter. Albéniz's piano writing here switches between guitar-like sounds and surging keyboard virtuosity: Pizarro excels in both departments.
Romantic dreams: The close of 'The Maiden and the Nightingale' ('Quejas, o la Maja y el Ruisenor') is a duet between the yearning heroine of Goyescas and the bird whose singing she listens to alone on her balcony. It's a moment of magic, beautifully captured by Pizarro." (Classic FM Magazine, Malcolm Hayes, 2010)

"The six thematically connected Goyescas, published in two volumes (1910 and 1914), are subtitles "Los major enamorados" ("The Majos in Love"). The majos were the dandified lower classes of Spain (especially Madrid) at the turn of the 18th century, and a favourite subject of Goya. So these "Goya-like" works, inspired, as Granados wrote, by "the psychology of Goya and his palette", are love poems and Artur Pizarro captures their improvised, dreamlike quality to perfection with a golden tone and caressing touch.
In Iberia, Albéniz's formidable masterpiece (12 works published in four volumes, 1906-09), Pizarro has not only de Larrocha's legendary recording(s) to compete with but Marc-André Hamelin's very different take (Hyperion, 6/05). To generalise, if de Larrocha takes the more robust and theatrical view of the music and Hamelin is the more technically nonchalant and textually astute (the only one, by the way, fully to accommodate Albéniz's extreme dynamics, ranging from quintuple piano to quintuple forte), Pizarro is the more emotionally contained. He is at his best when the music demands charm and introspection ("Rondeña", "El polo")...it is difficult not to fall for Pizarro's lyrical grace, the even temperament of his approach and the unfailingly lovely sound he produces (he has been very well recorded), a distinct advantage over de Larrocha." (Gramophone, Jeremy Nicholas, 2010)

Produced by Philip Hobbs

Recorded at Julius Blüthner Pianofortefabrik GmbH, Leipzig, Germany from 2-6 September 2009
Post-production by Julia Thomas, Finesplice, UK
Design by John Haxby
Photography by Sven Arnstein
Piano Technician - Tsuyoshi Yamazaki

Artur Pizarro plays a Blüthner concert grand piano (serial number 151893, born on September 1 2009)
Fakta
Artikelnummer CKD355
Streckkod 0691062035521
Utgivningsdatum 2010-04-03
Kategori Klassiskt
Skivbolag Linn Records
Enhet SACD
Antal enheter 2
Utövare
Artister Pizzaro, Artur
Kompositörer Albéniz, Isaac / Granados, Enrique
Disk: 1
1 Goyescas - I. Los Requiebros
2 Goyescas - II. Coloquio en la reja
3 Goyescas - III. El Fandango del Candil
4 Goyescas - IV. Quejas, o la Maja y el Ruisenor
5 Goyescas - V. El amor y la muerte
6 Goyescas - VI. Epilogo
7 Iberia - Book 1 - 1. Evocacion
8 Iberia - Book 1 - 2. El Puerto
Disk: 2
1 Iberia - Book 1 - 3. Fete-Dieu a Seville
2 Iberia - Book 2 - 4. Rondena
3 Iberia - Book 2 - 5. Almeria
4 Iberia - Book 2 - 6. Triana
5 Iberia - Book 3 - 7. El Albaicin
6 Iberia - Book 3 - 8. El Polo
7 Iberia - Book 3 - 9. Lavapies
8 Iberia - Book 4 - 10. Malaga
9 Iberia - Book 4 - 11. Jerez
10 Iberia - Book 4 - 12. Eritana
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