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Granados: Goyescas / Garrick Ohlsson, piano

Album Summary

>Granados, Enrique : Goyescas for Piano, Op. 11
>Granados, Enrique : El pelele, for piano (also arr. for 2 pianos by Llongás), H. 106, DLR 2
>Granados, Enrique : Allegro de Concierto
Performer Composer

Notes & Reviews:

Garrick Ohlsson offers a brilliant reading of Granados's pianistic masterpiece, Goyescas. Written in the first decade of the twentieth century, it is a musical tribute to the great Spanish artist Francisco de Goya, under whose spell Granados had fallen as a young man. Filled with a patriotic fervor for what he saw as a universally great Spanish genius, he wrote several pieces inspired by the painter's life and times. The six pieces that make up Goyescas are not mere tone-poems but instead draw on details from Goya's works - notably the Caprichos, a sequence of aquatints that satirized (and outraged) Spanish society. Another product of Granados's preoccupation with the painter was the exuberant El pelele, which recounts the tale of a straw man being tossed on a trampoline, while the Allegro de concierto forms a fittingly brilliant end piece.

Gramophone Magazine
You can't go far wrong with Ohlsson, who could hardly be more affecting in 'Quejas, o La maja y el ruisenor', or more able to express the dark and glittering hearts of both 'El amor y la muerte' and 'Epilogo, serenate del espectro'

The Guardian
The style of the piano writing can be traced back to Chopin and Liszt. It's that side of Granados's music that is brought out in Garrick Ohlsson's technically immaculate performances. Other pianists might play up the music's nationalism, but it's the connection with the 19th-century mainstream Ohlsson emphasises.

BBC Music Magazine
Ohlsson is very much the performer for the heart of the work - a woman's forlorn dialogue with a nightingale - and its ensuing tragedy. His feeling for the constant fluctuations of pace and mood infuses the 'Maiden and the Nightingale'...a fine, warmly recorded all-Granados disc.

Fanfare Magazine - Scott Noriega
Both pianists offer interesting interpretations. Pérez shows his eagerness to make these pieces as lyrical and meaningful as he can, sometimes getting in his own way in the process. Ohlsson is more polished and leaner in that classical sense of proportion. Both pianists offer interesting insights into the music, excellent performances of certain of the pieces in excellent recorded sound, but of the two, Ohlsson - perhaps for his more natural approach - is my preferred version. That said, I would not give up my Alicia de Larrocha recordings for anything! But both of these recordings make fascinating comparisons and offer personal insights into this too-little-recorded repertoire. Both are keepers in my book... .

Notes & Reviews:

Recording information: Henry Wood Hall, London (05/31/2011-06/02/2011).



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Works Details

>Granados, Enrique : Goyescas for Piano, Op. 11 :: 4
  • Performer: Garrick Ohlsson (Piano)
  • Notes: Henry Wood Hall, London (05/31/2011-06/02/2011)
  • Running Time: 51 min. 24 sec.
  • Period Time: Post Romantic
  • Written: 1909-1912

>Granados, Enrique : El pelele, for piano (also arr. for 2 pianos by Llongás), H. 106, DLR 2 :: 5
  • Performer: Garrick Ohlsson (Piano)
  • Notes: Henry Wood Hall, London (05/31/2011-06/02/2011)
  • Running Time: 4 min. 23 sec.
  • Period Time: Post Romantic
  • Written: circa 1913

>Granados, Enrique : Allegro de Concierto :: 8
  • Performer: Garrick Ohlsson (Piano)
  • Notes: Henry Wood Hall, London (05/31/2011-06/02/2011)
  • Running Time: 7 min. 37 sec.
  • Period Time: Post Romantic
  • Written: 1903-1904