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 PianistALBÉNIZ: Sonatas para piano y L’automne TURINA: Obras para piano GRANADOS: Goyescas RODRIGO: Obra completa para piano RODRIGO: Obra de cámara RODRIGO: Obra vocal I y II RODRIGO: Obra vocal III HELLER: Estudios para piano Op. 45 y Op. 47 MONTSALVATGE: Obra de cámara GOLS: Obra completa per a piano, cant i cambraComposer-performerGUINOVART: Obras para piano INFAMIA: Tangos de Barcelona ALBERT GUINOVART ENSEMBLE (AGE): Australia PIANO & COBLA TERRA BAIXA (Ballet)ComposerMAR I CEL (1988) MAR I CEL (2004) FLOR DE NIT GAUDI, el musical de Barcelona EL LARGO INVIERNO VALENTINA’S TANGO NISSAGA DE PODER EL COR DE LA CIUTAT NADALES I VILLANCICOS GERSHWIN/GUINOVART 'I love rhtyhm' LA CIUTAT QUE PARLA, LA CIUTAT QUE SONA |
Discographyalbéniz: sonatas para piano y l’automne
Credits
Harmonia Mundi HMI 987007 France 1994 Description
Sonates per a piano, núm. 3, 4 i 5
L'Automne - Valse
Reviews
This CD has a double merit: the recovery of a forgotten yet excellent repertoire, and the performance of the great pianist Albert Guinovart. An essential record that is matchless in Spain.
(El Periódico 4/02/1994)
Albert Guinovart plays with fluency, spirit and delicate tonal gradations: occasionally (as in the left hand in L’Automme), he could have omitted the pedal given the acoustics of the church in which it was recorded, but in general he gives a marvellous performance.
(Gramophone Reviews Galley - 26/ 10/1994)
Listening to these pieces is a double pleasure; firstly it means you rediscover some very “salon” 19th century music by Albéniz, and secondly you can enjoy the talents of one of our best and most well-known performers who has a great career ahead of him.
(CD Compact – April 1994)
Guinovart neatly traces the tangential – when not dividing – line of these pentagrams and does so by means of signs codified as being romantic: a certain elegant abandon in the phrasing of the left hand, clear melodic contours in the right, a firm pedal, a legato of vocal lineage in specific passages (such as the Rêverie in the Fifth Sonata), without as a result abandoning the consubstantial ease and splendour of salon music.
(El País – April 1994)
The reading of these hitherto virtually unheard of pages has quite properly been given to a musician able to recreate them in all their colour: the pianist Albert Guinovart.
(Amadeus - May 1994)
Guinovart is splendid in the slow passages such as the Andante in the Third Sonata and the evocative Rêverie de la Quinta, drawing the melody with naturalness and exquisiteness. The moments of greatest piano bravura, as in the case of the Allegro in this Fifth Sonata and the complex Rondó which ends the Fourth, he meets with his technical skill and by ensuring that at no time is the sonority masked. Generally speaking his version abounds in fluency and colourfulness, but above all there is the care in the expression of the melody, a crucial factor for getting inside this curious world of Albéniz which has just come to light.
(CD Compact – April 1994)
Albert Guinovart once again demonstrates his ability as a pianist.
(Barcelona en Música – March 1994)
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