Related Reviews
Fono Forum
4½ Stars
"Pizarro deutet die Werke aber eher aus der Sicht eines hochbegabten Aquarellmalers und weniger aus der des scharf konturierenden Zeichners."
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The Absolute Sound
4 Stars
"We have here an ideal matching of artist, repertoire and instrument."
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Fanfare
"There is a kind of yielding elegance to his playing that strikes me..."
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Financial Times
4 Stars
"the softer, romantically stylised moments are exquisitely handled..."
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Stereophile
"Beautiful music, beautiful playing, beautiful recording."
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International Record Review
"No newcomer to this repertory could be disappointed with Pizarro's accounts..."
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Musikzen
...Pizarro y fait la preuve de ses compétences techniques et musicales
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Irish Times
4 Stars
"...Pizarro is beguiling..."
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Sunday Herald
"...played with enormous flair, colour and sensitivity..."
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Classic FM Magazine
5 Stars
Instrumental & Chamber Editor’s Choice: "Artur Pizarro's interpretations offer a richly rewarding alternative view of this music..."
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BBC Music Magazine
5 Stars
Instrumental Choice: "...his formidable technique provides the means to a musical and poetic end..."
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Audio Video Club of Atlanta
"At last (and well worth waiting for)...Glorious!"
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Opus Musica
"Un doble disco -de generoso minutaje- muy recomendable."
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North London News
"...the prodigally talented Artur Pizarro unquestionably ranks among the most sensitive and capable..."
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SA-CD.net
4½ Stars
"His playing is always beautiful, capturing the dream-like romance of these vignettes..."
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The Daily Mail
5 Stars
"Artur Pizarro is in full command of these suites."
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The Guardian
4 Stars
"...Pizarro captures that slight air of sentimentality perfectly."
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Musical Pointers
"It is a landmark in recorded history and an essential addition to everyone's library of Spanish piano music."
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Albeniz & Granados - Artur Pizarro - Gramophone


30 July 2010
Gramophone
Jeremy Nicholas

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.


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