Enrique Granados(1867-1916)
Goyescas, Piano Suite
These eleven versions of Goyescas are submitted for your consideration:
Michel Block, piano
Recorded Musical Art Center, Bloomington, Indiana, October 1981
Pro Piano Records 224518 [1cd]
Alicia de Larrocha, piano
Recorded Madrid, Spain, 1963
EMI Classics 64524 [2cds]
Alicia de Larrocha, piano
Recorded Decca Studio No.3, West Hampstead, London, December 1976
Decca 448191 [2cds]
Alicia de Larrocha, piano
Recorded at American Academy and Institute of Arts and Letters,
New York City, December 1989 & April 1990
RCA Victor Red Seal 60408 [1cd]
Enrique Granados, piano (Book 1 only)
Recorded in Paris, 1913 using Welte-Mignon recording system
Pierian 0002 [1cd]
Hisako Hiseki, piano
Recorded at the Auditorium "Paper de Musica" de Capellades, October 1998
La Ma De Guido 2031 [1cd]
Martin Jones, piano
Recorded at Concert Hall of the Nimbus Foundation, November 1997
Nimbus Records 5595/8 [4cds]
Benita Meshulam, piano
Recorded 1995 (location unknown)
Chesky Records 125 [1cd]
Eric Parkin, piano
Recorded at Faculty of Music Concert Hall, Cambridge, May 1993
Chandos Records 9412 [1cd]
Douglas Riva, piano
Recorded at St. Martin's Church, East Woodhay, Hampshire, April 1998
Naxos 8.554403 [1cd]
Ralph Votapek, piano
Recorded at WFMT Studios, Chicago, May 2001
Ivory Classics 72007 [1cd]
Enrique Granados has often been referred to as the "Spanish Chopin",
and his masterpiece Goyescas is largely responsible for the designation.
Although his fame is not at Chopin's level, I can confidently state that
Goyescas is a marvel of the piano literature easily worthy of the dozens
of hours of listening I have engaged in over the past few months.
Spanish music has a few general features of great attraction and
distinction. First, there is nothing in the world like the Spanish
musical flourish, and Granados is its prime advocate. Second, Spanish
music has a totally unfettered element expressing the richness and joy
of being alive. Third, it has what I call the 'Spanish rhythmic snap'
that clearly identifies its national origin.
Goyescas might have been the Granados masterpiece of his musical career,
but it also contributed to his demise. It all started when the American
pianist Ernest Schelling persuaded Granados to convert Goyescas into an
opera which premiered in New York. So, in 1916 Granados and his wife
sailed to New York to get ready for the premiere and also take in the
sights and perform some concerts. All went very well, including the
trip back across the Atlantic Ocean. However, a German submarine torpedoed
their ship in the English Channel, and both Granados and wife were killed.
Given that Granados had a life-long fear of water and oceans, perhaps
it is fitting that his worst fears came to fruition. I have a similar
fear of air travel and fully expect some day to go down with the plane.
Back to Goyescas, this piano suite is about "young men in love" as the
title indicates. The suite has two Books or sections. Book 1 contains
four movements - Book 2 has the remainder. Many versions add a seventh
movement titled "El pelele"(The straw mannequin) which constitutes the
opening sequence of the Granados opera that premiered in New York where
a straw man is tossed around the stage. The reviewed recordings which
include "El pelele" are the de Larrocha(RCA/EMI), Hiseki, Jones, Parkin,
Riva, and Votapek versions.
Concerning the performing artists, Alicia de Larrocha is the queen of
Spanish classical piano music and has held the title for many decades.
As the review progresses, I'll do my best to differentiate among her
three recorded performances.
Michel Block needs little introduction. Recently deceased, he was one
of the great pianists of the 20th century, and his initial fame was due
to winning the Arthur Rubinstein Prize in Warsaw at the 1960 Frederic
Chopin International Competition. This prize was invented on the spot
by Rubinstein who was not enamored of the other contestants in the
competitiion.
Martin Jones and Eric Parkin are British pianists, and it will be very
interesting to hear how each handles the Spanish idiom. As an aside,
the Jones 4-cd set is titled "Spanish Piano Music" and contains the music
of Albeniz in addition to Granados.
Hisako Hiseki is a Japanese pianist who has been praised by de Larrocha
and Xavier Montsalvatge. Benita Meshulam received her early training
in Bloomington, Indiana from Sidney Foster and has also studied with
Janos Starker, Gyorgy Sebok, and Richard Goode. Although Amercian raised,
Meshulam feels a strong affinity for Spanish music based on her family's
Sephardic heritage.
Douglas Riva is an American pianist who has been intensively immersed
in the music of Granados for the past few years. Naxos has already
released six volumes of Granados piano music played by Riva, and the
reviews have been quite favorable. Further, Riva has been working with
de Larrocha on a new critical edition of the Granados piano works.
Ralph Votapek hails from Milwaukee, Wisconsin and has studied with
Rudolf Serkin, Nadia Reisenberg, and Rosina Lhevinne. His 'breakthrough'
took place in 1962 when he won the Gold Medal at the first Van Cliburn
International Piano Competition. Since that time, Votapek has appeared
with all the major American orchestras and also tours South America on
a yearly basis.
That leaves us with the composer himself as presented on the non-profit
Pierian label. Using the Welte-Mignon recording system, Granados sounds
as if he's next to me, not in the distant past. The soundstage is dry
and clinical, although there is a significant loss of sharpness as is
typical of early 20th century duo-art recording systems. I'll be using
the Granados performances of Book 1 mainly for reference purposes.
Let's begin:
1st Movement (Los requiebros/Flattery) - The Spanish flourish and rhythmic
snap immediately take hold in Los requiebros. This is exuberant, radiant,
and elegant music of great beauty, and I can't imagine anyone not being
in a more positive mood after listening to it. Over eight minutes in
length, Granados sufficiently varies the primary theme to insure that
interest does not wane. The halting rhythmic patterns also enhance
involvement in the piece.
The performance by the composer is highly instructive. Granados does
more than merely use a halting rhythm; he frequently varies velocity
and dynamics. When slow and soft, he never gives us weak projection.
When he raises the volume, matters never become frantic or fever-pitch;
Granados did not possess the extreme personality traits of a Schumann
or Scriabin. Granados insures the music is always uplifting and rapturous,
maintaining excellent continuity along the way.
I had some trouble enjoying Benita Meshulam's performance due to its
jagged rhythmic patterns. They aren't to be found in the reading by
Granados nor in any of the other reviewed versions. This is all Meshulam's,
and I must admit the effect is distinctive. However, I also feel it
disturbs the flow and the elegance of the music. Other issues include
recorded sound not conducive for detail and an occasional reticence from
Meshulam that creates weak projection.
Fine performances are offered by Eric Parkin and Martin Jones. Parkin
is quite relaxed in relationship to the other pianists, but he is so
cozy about it that I get consistently hooked. Where he fails is in
varying dynamics and tempo. He's lower on the scale than the competition,
and sustaining interest becomes problematic.
I mentioned earlier that the Granados performance didn't veer toward
frantic or feverish levels. Martin Jones does become feverish on occasion
and that's when the basic mood of the music is broken. Other than that,
Jones does quite well with the halting rhythm and the fast pace he sets
at just over eight minutes.
The remaining versions are a joy to listen to. Hisako Hiseki comes
up with a very appealing first movement. Although rather slow at over
nine minutes, there are no empty spaces. Actually, her reading is filled
with activity as she displays fantastic detail in a recorded sound perfect
for identifying inner voices. Her flourish and snap are deliciously
presented, and I have no doubt that Hiseki loves playing this movement.
Ralph Votapek offers a quick reading of just over eight minutes, and he
certainly delivers an energized and well detailed performance displaying
a fine sense of the Granados idiom and rhythms.
I am quite taken with Douglas Riva's relatively introspective account.
There's a nostalgia in his very slow performance that is irresistible
when contrasted with the more exuberant music in the movement. Also,
he conveys great confidence and hits the climaxes strongly.
There are noticeable differences among the three de Larrocha recordings
of the 1st Movement. The EMI version is the fastest and least attractive
as to sound quality. Actually, the piano rings out very well, but there
is interference that can be pesty. Regardless, the exuberance and love
of life exhibited by de Larrocha is at peak levels in this glorious
performance. On Decca, de Larrocha slows down a little, but there is
no loss at all in her exhilaration and the music has more room to breathe.
Given a better soundstage than provided by EMI, the Decca is my de
Larrocha version of choice. As for the RCA, there is some loss of
exuberance. de Larrocha is more relaxed, and I feel the earlier two
performances possess a more vital nature.
Joining The Decca de Larrocha at the top level is the utterly compelling
performance of Michel Block. He might be making more of the music than
Granados intended, but there is no denying that Block is the best among
the other versions in the frequent varying of tempo and dynamics. Of
course, this isn't just a matter of frequency but also applying variety
at the right moments. Block gives us a full-length story filled with
magical characters of vastly differing personalties, all possessing one
common trait - their love of Spain. Although his tempo approaches the
ten minute milestone, it seems perfect for conveying all the subtleties
and themes he creates. de Larrocha embodies the music; Block expands
on it. These are two fantastic and very different interpretations of
"Los requiebros".
2nd Movement (Coloquio en la reja/Conversation at the Grilled Window) -
This is a fantastic love duet. Just picture a young man outside a bedroom
window with his love-interest on the other side as they express their
ardor, mystery, and regrets to one another. The Granados melodies are
stunning, and he packages them exquisitely. Also very appealing are the
flourishes/climaxes and the bitter-sweet nature of the music. However,
they tend to pale in relationship to the pure sensuality of the piece;
this is 'love in the first degree' replete with bodily hungers and an
addictive concentration on the basic elements of attraction between
love-interests.
The only version I don't find fully satisfying comes from Eric Parkin.
As in the 1st Movement, he is comforting and relaxed. And again, he
varies tempo and dynamics less than the other pianists. I do enjoy the
reading, but there's so much more than Parkin conveys. His minimal
levels of sensuality and passion just won't do. To add to my negative
stance, Parkin appears not to have an excellent handle on Spanish rhythms.
I noticed it in the 1st Movement, but the effect really comes to life
right at the beginning of the 2nd Movement. Parkin sounds like a man
in the wrong country with his wooden and slack rhythms.
The versions from Votapek and de Larrocha are very fine but not in
the upper echelon. I am a little disappointed with each of the three
de Larrocha performances; she doesn't give as much attention to the sadder
and more introspective aspects of the music as I would like. As a result,
her breadth of expression is somewhat limited compared to the best
interpretations. Votapek again gives a very alert reading, but it could
be significantly more ravishing.
Choices become difficult among the remaining five versions as each is
seething with sensuality and presents great flourishes. However, Block's
quiet contemplation could be more incisive, Meshulam's reading of under
ten minutes is a little too quick to maximize the music's poignancy, and
Hiseki's flourishes would benefit from greater rapture.
Martin Jones is very impressive in the 2nd Movement with wonderful
flourishes and outstanding detail; his sensuality is also at high levels.
Leading the pack is the introspective performance of Douglas Riva which
is similar to the Block but with much more bite and stronger projection.
Essentially, Riva brings out all the emotional themes of the music more
thoroughly than the other pianists. When flourishes and exuberance are
required, Riva more than meets the standard, but it is his incisive and
deep conversational flow that wins the day. The Granados performance
of the 2nd Movement is as quick of pace as the Meshulam, but Granados
never sacrifices any poignancy. His incisive and well-projected phrasing
is only matched by Riva.
3rd Movement (El fandango de candil/Fandango by candlelight) - Another
appeal to our sensual side, the 3nd Movement has a wonderful sweep to
it and very interesting rhythmic patterns. Listening to Granados play
this piece, one notices his quick reading of slightly over five minutes,
great rhythmic drive and activity, and frequent/sudden changes in tempo
and dynamics.
Least attractive is the performance of Martin Jones who simply bangs
away on the keyboard too vigorously, resulting in an assualt on the
listener; even at low volume, the assault does not subside. To my ears,
the Jones version could be titled "Fandango by towering inferno". Eric
Parkin, a small step up from Jones, still leaves me skeptical as to his
natural affinity for Spanish rhythms. His sweep is somewhat stilted and
the snap of his rhythms is too rounded.
Benita Meshulam's verson has much to offer in terms of being highly
detailed with interesting and surprising phrases and sudden changes in
rhythms. Unfortunately, her flourishes tend to be understated to the
extent that they have diminished lift. Meshulam can sound reticient,
and this is a quality I also noticed in her 1st Movement.
Excellent performances are handed in by Block, Riva, and Hiseki. The
detail that Block elicits from his very slow tempos is illuminating, but
he does bang some on the keys. Riva's projection is again exceptional,
athough he has a few moments where he drags the tempo down. Hiseki's
version is just lacking one element, and this takes me to the de Larrocha
recordings.
In the EMI performance, de Larrocha delivers *excitement* to a greater
degree than Granados himself. She uses her quick pacing as a means of
electrifying her notes, and the drive is at peak level. She does this
without sacrificing in the least the lyrical and rapturous nature of the
music. It's a dynamic and hot-blooded performance that continues to
astound me after many listenings. Astounded I am not by de Larrocha's
Decca and RCA versions. In both cases, she sometimes overdoes the halting
rhythm, and I feel a loss of drive that never crops up in her EMI reading.
There is one other version just as hot-blooded and exciting as de
Larrocha's, and it comes from Ralph Votapek. He's a whirlwind of incisive
and spontaneous activity, yielding to de Larrocha in exuberance but
exceeding her in determination.
Update: The most rewarding performances have been by Block, Hiseki, Riva,
and the two earliest de Larrocha recordings; they share a natural affinity
for Granados' rhythms and consistently convey the wonder of the flourishes
that Granados creates. Votapek rose greatly in my estimation with his
sensational 3rd Movement, and I hope for continued success in the final
three movements.
The following three versions might be hard to recommend: Parkin doesn't
appear to be in his element, Jones needs to dump some of his overly
emphatic declarations, and Meshulam should belt out those flourishes
with more gusto. With the de Larrocha on RCA, her exuberance and flair
is toned down compared to her earlier versions; that's not good.
What is much better than good is the wonderful music of Granados which
radiates the glow of love and the wonders of life. This music is good
for the soul, but don't think for a moment that all we get is a steady
diet of uplifting optimism. Granados offers us an exquisite melancholy
and highly poignant reflections on life. Throw in the sensuality that's
always drawing the listener into the music, and we have a masterpiece
of the piano literature. I'll be back in two or three weeks with Part
2.
Don Satz
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