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.
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.
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.
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.
@@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.
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.
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