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Iberia
La vega
Yvonne en visite!
Espana. Souvenirs
Navarra

The twelve extended pieces which make up Albéniz’ Iberia are not only the composer’s greatest work, but also the greatest piano work to come out of Spain. Fired by his discovery of the music of Ravel and Debussy, Albéniz transformed his earlier salon style, which essentially produced charming but slight ‘picture postcards’ of Spain, into a language which was much more complex – harmonically, texturally and pianistically – and which created a series of tone poems which capture the spiritual essence of Spain. The superabundance of the writing also makes the cycle one of the supreme virtuoso challenges, so who better to realize the beauty beyond the notes than Marc-André Hamelin who reveals here that the previous virtual monopoly of this work by Spanish pianists may have done more harm than good. The couplings here are also particularly appropriate in that we have a complete survey of all Albéniz’ late piano music from 1897 until his death. La vega and Espana are clearly precursors of Iberia; they came after a five year gap in piano output and are the first works to show the composer’s new style. Yvonne en visite!, in perhaps its first recording, is a charming and humorous work illustrating a child’s reluctant piano playing. The collection closes with a new completion by William Bolcom of the unfinished Navarra, which probably reveals much more of Albéniz’ original intention than the perfunctory ending by de Séverac hitherto used.

GRAMOPHONE EDITOR'S CHOICE ; CD OF THE WEEK - BBC Radio 3 CD Review

'Here is the most immaculate, effortless and refined of all Iberias. Where others fight to stay afloat, Marc-André Hamelin rides the crest of every formidable wave with nonchalant ease and poetry … Hamelin's Albéniz [on the other hand], proudly but nonchalantly, raises a new and astonishing standard' (Gramophone Magazine)

'Hamelin again achieves the almost physically impossible with seeming ease. Albéniz's multiple layers are finely balanced, and apparently awkward textures come to life in a lucid acoustic with pace, grace and a constant sense of dance' (BBC Music Magazine)

'Albéniz infused his writing with the flamboyant rhythms and anguished melodies of flamenco, and Hamelin captures the authentic accent while dispatching the notes with astonishing technical bravura and outstanding musicianship. He may not replace de Larrocha, but all who love this music will want to add his interpretations to their collections' (The Sunday Times)

'Mr Hamelin commands an enormous range of touch and expression. He is as comfortable in the languid meanderings of Evocación as in the pointed dance rhythms of Rondena and he modulates between such extremes with utter fluency. As part of this far-reaching sensibility, Mr Hamelin is always alert to atmosphere, which is everything in this music' (New York Times)

'Simply put, this is now the recording of choice. Hamelin has a reputation as a super-virtuoso - 'jaw-dropping' is one of the favourite adjectives used to describe his technique. It's certainly a well-deserved reputation … Hamelin uses his unparalleled technique not to revel in the music's difficulties but to transcend them; and at his best he offers artistic subtlety where lesser pianists offer little more than gymnastic sweat and strain' (International Record Review)

'There's plenty of technical brilliance to marvel at in Marc-André Hamelin's performances. In quieter, slower music - the very first piece Evocacion is one instance - he offers a lovely, appositely dark-hued singing tone along with an array of delicate shades' (Evening Standard)

'Rarely has this music's intricate patternings been so subtly exposed, and the recording captures Hamelin's distinctive sonority to a tee' (Classic FM Magazine)

'Marc-André Hamelin's [recordings] all attest to a virtuoso technique and an inquiring musical mind second to none on today's concert, recital, and recording platforms. He brings no less in artistic commitment to Albéniz and to this kaleidoscopically colourful music. Strongly recommended' (Fanfare, USA)

'Marc-André Hamelin has a wonderful feel for this music. He has a rhythmic play and sense of chord-balancing that enriches the textures. His most beautiful and lyrical playing occurs in the languid, intimate passages, where one is carried away from the everyday' (American Record Guide)

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Recording details: August 2004; Henry Wood Hall, London, United Kingdom; Produced by Andrew Keener; Engineered by Simon Eadon; Release date: April 2005;