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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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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Gramophone
"Artur Pizarro captures their improvised, dreamlike quality to perfection with a golden tone and caressing touch."
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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 - The Absolute Sound


23 August 2010
The Absolute Sound
Andrew Quint
4 Stars

Lisbon-born Artur Pizarro grew up hearing this music by two masters of keyboard composition from the other side of the Iberian Peninsula. His performances breathe with the natural ease of long familiarity. The pianist's lyrical gracefulness with Goyescas remind us that Granados ultimately refashioned the material as an opera; it's as if Pizarro is singing when he sensitively shapes the melodic line of "Quejas, ó la Maja y el Rusiseñor", the fourth piece in the suite. Pizarro is equally persuasive with the twelve numbers that make up Iberia, demonstrating convincingly that this is Impressionism on a par with Debussy and Ravel. The soloist vividly evokes Spanish sights and sounds, never calling attention to the considerable technical demands of the piano writing.

We have here an ideal matching of artist, repertoire and instrument. Pizarro goes on in his liner notes about his choice of piano for the recording, a newly made Blüthner concert grand. The sonority is slightly sweet, bell-like (without being the least bit tinkly), and tactile - "good old wood-on-wire sound" is what the artist calls it - allowing for a wealth of nuances coloration. Linn's surround production delivers a corporeal representation of the piano that's inviting and present.


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