Granados - Consummate Piano Works, Thomas Rajna (1976) [FLAC]

  • 19.06.2016, 18:18,
  • Music
Granados — Consummate Piano Works, Thomas Rajna (1976) [FLAC]Granados — Consummate Piano Works, Thomas Rajna (1976) [FLAC]

Enrique GRANADOS (1867-1916)
Utter Piano Works
Disc 1
Goyescas, El pelele
Disc 2
Twelve Spanish Dances, Op. 37
Disc 3
Allegro di Concierto, Valses Poeticos , Capricho Español, op. 39, Rapsodia Aragonesa, Carezza-Vals, op. 38, Oriental, Dos Impromptus
Disc 4
Moresque y Arabe, Cuentos de la juventud, op. 1, Sardana Bocetos
Mazurka, op. 2, Barcarola, op. 45, Los Soldados de Cartón, A la Pradera, Danza caracteristica, A la Cubana, Op. 36, Escenas Poeticas, engage 2
Disc 5
Escenas Romanticas, Seis piezas sobre cantos populares Españoles, Danza lenta, Aparición, Cartas se amor, valses intimos, op. 44, Libro de Horas
Disc 6
Impromptu, Op. 39, Seis estudios expressivos, Marche militaire, Estudio, Op. Posth., Elisenda, Paisaje, op. 35,
Dos Marchas Militares, Escenas Poeticas, engage 1
Thomas Rajna (piano)
Recorded 1976. ADD
Filled traces-listing at end of array
FAMOUS CLASSICS 92283 [6 CDs: 66.35 + 55.37 + 60.06 + 75.32 + 74.27 + 54.04]

Thomas Rajna completed his circle of Granados’s alone piano music within a year – 1976. As if to revel the thirtieth anniversary of their autochthonous show on CRD LPs Famous Classics has returned the circle to the vend-good form b in situ. It’s in one slim box containing six nicely filled CDs and with large notes from Bryce Morrison.

Nothing could be finer. Rajna was an trained upholder for Granados’s music and though recordings since have come – and gone – his have maintained an honoured good form b in situ in the memory; and now, thankfully, in the disc drawer. And this is all the more so as so few are performed in customers with any best confidence, beyond the prominent Goyescas and maybe Escenas Poeticas and Escenas Romanticas.

The first disc furnishes Goyescas and his show of the best circle is filled of poesy and a certain aristocratic cunning. Rajna is a colourist of best deftness, preferring pastel to direct maybe, but pursuing his start with utter fidelity and no inner contradictions. It renders his traversal rather slower than is perhaps the norm; two examples will have to enough. Coloquio en la reja is in his hands an discriminating, almost sepulchral issue – very lallygagging and clockwork. And Los requiebros may well come as a out of the blue to those weaned on de Larrocha’s various traversals, not least the one she nautical port the year after Rajna’s own – for Decca in 1977. It’s certainly not unreservedly a sound out of cadence, of course. He tends to be less rhythmically perceptive and vivifying than de Larrocha here, his rubati are considerably less teasing, those detonating nautical port surrender accents less unmistakable. In quick his is a more agreeably unflappable look on, a more old-fashioned one. To those who chance de Larrocha irregularly overstated in this repertoire Rajna may suggest a nucleus of resemblance, though I certainly wouldn’t forego her captivating throbbing slash and chic personality.

The Twelve Spanish Dances are far less played than was formerly the action. No.5, Andaluza, has survived – and has been excellently transcribed – but they all suggest valuable things for the curious trouper and many a concert could be enlivened by the commonsensical counting of a hang on of them. Here Rajna really comes into his own. His maintain is sure, his dynamics powerfully friendly, his stimulate nonpareil, and his tonal selection evocative. His surety in the second, Oriental, lies in his put down of the swaying throb of the outer sections in the same way that he is so in the money in Villanesca where he evokes the bell motifs, commands the not on target octave leaps, and is sweetly reverential in the lied that lies at its nitty-gritty. His rash accelerando in the Rondella Aragonesa is judged splendidly – the correspondingly lallygagging segment equally so. In the framework of the whole circle Andaluza doesn’t wise so excellent after all.

The third disc offers a m of pieces, some admittedly not fro the top drawer. The Allegro de Concierto is rather more distinguished for its moments of Chopinesque meditation and Lisztian wag than for any really personalised communication. And the Rapsodia Aragonesa sounds like a supercharged Liadov, which is not inevitably a critique, though it does certainly intimate a limitation. Carezza-Vals is generic but of more value by far is Oriental-Cancion, Variad, Intermedio y Indisputable. This is an intensely evocative vocation and one that houses plenteousness of cubicle quarters for internal striking compare and Iberian zip. So too do the Valses Poeticos. The second of the Waltzes encloses a excellent tunefulness, the third is impish and in the indisputable waltz we replace with overflowing cyclical tenderness to the toe-hold gang. Rajna plays them with distinction.

Granados’s Op.1 is contained in a multiplex fourth bulk and it proves to be echt Schumann. A marginally later vocation, Bocetos, unites two of his influences, Schumann and Chopin, though the textures and throbbing palpitation are unambiguously Iberian. Rajna reserves some true power for the culminatory chordal dignity that is A la Pradera and once more parades his octaves in Danza caracteristica. Of more intimately musical bring in are the Escenas Poeticas, not least the hymnal sweetmeat of the second, which he presents with best tenderness and frankness. This is a neighbourhood of an hour circle that, once again, should be far more often played than it is.

It’s a disrepute that the Escenas Romanicas are not singly tracked – the six should be. That said Rajna shows no enlist of drill or flagging spirits in his musical unfolding of this big, twenty-six flash circle. The eagerness of Chopin as so often hovers above some of the six but it’s not a suffocating valid, rather it’s a liberating one; Rajna makes no have to keep secret the prominent, instead allowing the music to speak to for itself. This it does with true valid and poesy. Harmonically and colouristically this is among the greatest of Granados’s piano music. The Molto appassionato, gaunt and concentrated, is a particularly refined example of this but the whole circle is a mini tour de valid. The Seis piezas consist of six, similarly untracked, hoof it pieces but they distract a more generic good form b in situ in the move of nineteenth century ability – they’re certainly colourful but their merits are uneven. The three Libro de Horas are different – the rolled chords and limpidly musical first is provocative on its own but Rajna finds best sublimity in the show of the second — made even more occupied through discriminating nautical port surrender pointing. The third is grim, religiose, lallygagging and has plenteousness of not on target acres in which one can survey its vistas.

The Op.39 Impromptu reminds one yet again of a unrestricted-flowing Schumannesque patrimony. It’s far preferable to the flummery and tricksy up to date nineteenth century games of the Seis Estudios expresivos. Much better and far more revealing is the posthumously published Estudio, which bears the unmistakeable imprint of Fauré. The three little Escenas Poeticas are about to make a discovery without being pointlessly intoxicated and Rajna brings out their evocative coloration and easy intuit of qualm exceedingly well. This indisputable bulk ties up strewn ends nicely even going so far as to overdub Rajna in the two Marchas Militares.

This is another covenant from Famous Classics. Performances, documentation and recording excellence are all provocative. There’s no true remonstrate with to hesitate.

Jonathan Woolf

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