Right. We don't hear enough of the rich and varied Spanish repertoire. I think Iberia is very near the top of the heap of world class piano masterpieces.
@@opustravels3659 Grosvenor is a first-class pianist, there is no doubt, but here he is in a great hurry and goes out of his way to run. Typically Spanish sentiment and nuances are lost, such as the "requiebro" and other accents that require greater understanding of the context and aesthetics.
This is great! Thank you uploading. It is also very interesting to have these two performances next to each other. I personally like the light, playful touch of Grosvenor more, but I do also appreciate the more dramatic interpretation of Pérez.
Grosvenor's "shortening of the shorter notes" gives the piece a jazzy feel, which doesn't work for me. When I listen to Granados, I don't want to feel snappy jazziness. I want to hear and feel something of Spain. I think Perez's version is near perfect.
@@TiticatFollies lol, the development. Recordings of different takes on the music existing is a good thing. I don't think you would've been pleased if this had been an imitation of your favourite interpretation
Grosvenor focuses solely on virtuosity and speed. Pérez, on the contrary, focuses on feeling, depth and meaning without forgetting virtuosity. Pérez was a student of Alicia de Larrocha who drinks from the sources of the school itself founded by Granados. Undoubtedly, both are high-level pianists, but I don't think the comparison here makes much sense, because Pérez understands it much better and does justice to the composer.
There's a wonderful recording of this set by Thomas Rajna. Haven't been able to track it down lately, but it is offered with some of the larger public library databases of recorded music (Hoopla, etc.) Tthe heftier passages are a little rough in his playing, but he's got a great sense of tempo and rubato, and he knows how to create both momentum and suspension. I'd love to hear Stephen Hough playing this -- it's right up his alley: late romantic salon music that easily borders on sentimental, but with the right phrasing becomes elevated and quite touchingly evocative of that innocent/nostalgic/gilded age of European culture yet to be torn to shreds by nationalism and war.
It's too bad so many pianists power through these. I realize Granados indicated many of them energetically, but there are some beautiful melodies here that can't be appreciated over certain tempi.
Existe algo llamado hemiola , lo cual consiste en marcar de forma ternaria un tiempo binario y viceversa , es como si 2/4 lo marcas como 6/8 aunque también puedes usar tresillos dentro 2/4 para poder tener esa sensación de tiempo de vals , es un buen truco ya que puedes usar ese tiempo para empezar un vals y en la segunda parte algo más semejante a una marcha , también se puede hacer a la inversa
![Liszt: 3 Petrarch Sonnets [From Years of Pilgrimage: Italy], S.161 (Tiempo, Chamayou)](http://i.ytimg.com/vi/7K67MCQZgy0/mqdefault.jpg)
That melody in #1 is heartbreakingly lovely. Even though it's in a major key there's a tinge of regret, like a forgotten memory, to it.
Reminds me of Schumann’s Papillons No. 1 a little bit!
I think this suite has one of the saddest, most wistful and most beautiful waltz themes I've ever heard. Thank you for posting.
The way Grosvenor plays really reminds me of Pletnev's treatment of the Scarlatti sonatas in the sparkling quality of his sound.
Spanish composers are so damn great especially Granados.
I agree and I think they are so underrated.
Right. We don't hear enough of the rich and varied Spanish repertoire. I think Iberia is very near the top of the heap of world class piano masterpieces.
@@EmdrGreg Te has ganado el respeto de España buen amigo
I know right
@@EmdrGreg You're not wrong. Except you need to put Goyescas right alongside it.
The first piece (melodioso) is so sweet and nostalgic! And the second one (Tempo de valse noble) is very elegant and beautiful as well!
I'm discovering the music of Granados and these are such lovely waltzes!
I have never listened to Granados before. Clearly I've been missing out on a lot.
same. love this channel
Delightful and previously unknown to me. The opening of number 4 has clear echoes of the opening of Schumann's 'Faschingsschwank aus Wien'.
Marquis De Sade Yes, I concur!
Thank you for giving us two interpretations of this beautiful, not often performed work. Grosvenor's clarity and perlage amazes me
Grosvenor keeps having this ability to make his interpretations the best ones I've heard. Wonderful rhythm and pulse on top of flawless playing
Please can I have all the information about the records use here ?
@@opustravels3659 Grosvenor is a first-class pianist, there is no doubt, but here he is in a great hurry and goes out of his way to run. Typically Spanish sentiment and nuances are lost, such as the "requiebro" and other accents that require greater understanding of the context and aesthetics.
This is great! Thank you uploading. It is also very interesting to have these two performances next to each other. I personally like the light, playful touch of Grosvenor more, but I do also appreciate the more dramatic interpretation of Pérez.
Thank you very much for uploading this! It really is amazing music.
Grosvenor's "shortening of the shorter notes" gives the piece a jazzy feel, which doesn't work for me. When I listen to Granados, I don't want to feel snappy jazziness. I want to hear and feel something of Spain. I think Perez's version is near perfect.
On further listening, I'm enjoying Grosvenor's version a lot.
@@TiticatFollies lol, the development. Recordings of different takes on the music existing is a good thing. I don't think you would've been pleased if this had been an imitation of your favourite interpretation
This suite is criminally underperformed. My favorite has to be No. 7.
You can hear ROBERT SCHUMANN influence on Granados with a DOUBT!! I’m glad he branched into his own sound later in his compositions.
Grosvenor focuses solely on virtuosity and speed.
Pérez, on the contrary, focuses on feeling, depth and meaning without forgetting virtuosity.
Pérez was a student of Alicia de Larrocha who drinks from the sources of the school itself founded by Granados.
Undoubtedly, both are high-level pianists, but I don't think the comparison here makes much sense, because Pérez understands it much better and does justice to the composer.
Thanks Ashish!!!❤
I really like this rendition. A side note: You should check out the classical guitar version of this by John Williams.
There's a wonderful recording of this set by Thomas Rajna. Haven't been able to track it down lately, but it is offered with some of the larger public library databases of recorded music (Hoopla, etc.) Tthe heftier passages are a little rough in his playing, but he's got a great sense of tempo and rubato, and he knows how to create both momentum and suspension.
I'd love to hear Stephen Hough playing this -- it's right up his alley: late romantic salon music that easily borders on sentimental, but with the right phrasing becomes elevated and quite touchingly evocative of that innocent/nostalgic/gilded age of European culture yet to be torn to shreds by nationalism and war.
I am playing number 8 which is Valses no 8 and I listen to this every time
It gives so many chills from Papillons by Schumann
Magnifique interpretation, jolie travail
amazing!! Thanks for uploading.
Que belleza de sinfonía
Aww, I only really like the first one
Seventeen minutes in sounded a little like "One Tin Soldier". Wonder if this is where the artist got the tune.
It's too bad so many pianists power through these. I realize Granados indicated many of them energetically, but there are some beautiful melodies here that can't be appreciated over certain tempi.
This set remember me Schumann papillon.
You invite comparison, for me it's mostly poetry preferred over efficient bravado. But the Introduction, Nos 2 , 7 and 8 go to Grosvenor.
Thank you :)
No.4 is so damn close to Schumann's "Faschingsschwank aus Wien", same key also.
Is it just me or do I hear a little bit of Liszt's Ballade 1 in the Vivo?
Traum anyone ?)
10:20
Ashish we want a fantasia baetica video
1:04 Traum.
Traums Outro Music!! No way
yes
I KNOW!! i was so surprised, both by the fact that its granados and that traum hasnt uploaded any granados...
Why is it so Chopinesque?
4:05 so schumannesque
Sounds like papillons
22:25 Oh my God! He came up with it himself! It wasn't in the sheet music!
Reminds me of Respighi
18:26 :D
So how come 2/4 is a waltz?
the first minute is not one of the waltzes, it is the prelude
Freddie Hand Oh! Thanks for pointing that out! Now I see it. Thanks. :)
Existe algo llamado hemiola , lo cual consiste en marcar de forma ternaria un tiempo binario y viceversa , es como si 2/4 lo marcas como 6/8 aunque también puedes usar tresillos dentro 2/4 para poder tener esa sensación de tiempo de vals , es un buen truco ya que puedes usar ese tiempo para empezar un vals y en la segunda parte algo más semejante a una marcha , también se puede hacer a la inversa
danke
💘🎶🎶🎶🎶💖👋
6:49 La la land
holy shit, there is no way that that is a coincidence. Surely has been 'borrowed'
Lark
so many ads
1:02 Papillons?!
It’s slightly different
Ah yes I see.