CKD 355 Vita Panomariovaite with Vita with the Scottish Chamber & Sir with the Scottish Chamber Beethoven last three sonatas Beethoven piano 3, 4 & 5 Chopin reminiscences Chopin sonatas opp.35 & 58, barcarolle op.60, variations op.12 Ravel the complete piano Ravel the complete piano works volume 2 Rimsky-Korsakov piano duos Beethoven piano sonatas on Linn Records Pizarro on Linn Artur by Also available CKD 225 CKD 244 CKD 315 CKD 293 CKD 248 CKD 250 CKD 290 CKD 336

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Artur Pizarro Philip Hobbs Tsuyoshi Yamazaki Tsuyoshi Julia Thomas, Finesplice, UK Julia Thomas, Finesplice, Sven Arnstein Julius Blüthner Pianofortefabrik Leipzig, Germany GmbH, John Haxby from 2–6 September 2009 from Recorded at Recorded by Produced and engineered by Post-production Design by Photography by – Piano Technician Tom Croxon Management: www.tomcroxonmanagement.co.uk Croxon Tom (serial number 151893, born on September 1 2009) Artur Pizarro’s Worldwide Management – Artur Pizarro’s Worldwide Artur Pizarro plays a Blüthner grand piano plays a Blüthner concert Artur Pizarro 8.05

9.23

5.41

7.29

6.24 14.55

4.10

13.33

7.04 6.55

1867-1916

9.55

6.24 5.23 7.05

5.24

9.46 10.48

1860-1909 Evocación El Puerto Fête-Dieu à Seville Rondeña Almería Triana El Albaicín El Polo Lavapiés Málaga Jerez Eritaña 7.40

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. El Fandango del Candil El Fandango Maja y el Ruiseñor Quejas, ó la la muerte El amor y Epilogo Los Requiebros la reja Coloquio en

I. V. II. Total Running Time 75.52 Running Total Total Running Time 70.33 Running Total Book 1 – Book 2 – Book 2 – Book 3 – Book 3 – Book 3 – Book 4 – Book 4 – Book 4 – Book 1 – Book 1 – Book 2 – IV. VI. III.

e r t y u i o a u i q w e r t y q w

Iberia Isaac Albéniz Iberia Enrique Granados Enrique Goyescas Disc TWO Disc Disc One Disc

page two page five page ; Goyescas (‘El Puerto’, (which I have have I (which and Iberia from his incomplete his from Iberia La Vega La Gaspard de la nuit la de Gaspard to Marguerite Long. I think it is also of Navarra with him. Ciccolini has left us many recordings of to José Vianna da Motta, making my links to these works and and works these to links my making Motta, da Vianna José to Allegro de Concierto, composers more and more convoluted! composers more and more my musical world ever since. I must admit I had to physically grow up before before up grow physically to had I admit must I since. ever world musical my a truly inspiring artist whose style, technique and Latin temperament are also had the pleasure to record) and four movements of a pupil of José Vianna da Motta, later studied with Mark Hambourg and atmosphere in which my first contact with the piano occurred. with the piano occurred. in which my first contact atmosphere accepted as a student of José Carlos . His first gift to me was Ravel’s of Prague in recorded had he LP an but also to publishers such as Durand, who acknowledge him in the preface both sides, was my first contact with thosetwo works and have been part of Spanish repertoire and one of the great recordings of latter two of these great and pedagogues were intimately linked with linked intimately were pedagogues and pianists great these of two latter the musical and intellectual circles in which Albéniz and Granados moved. to 1984. I first worked on ‘Evocación’ and another great work of Granados, the to their new Urtext edition of the preludes of Debussy. Such was the rich researching all I could find on those works. Sequeira Costa, who was also whom I had the pleasure and good fortune to work with in from 1983 interest to note that Albéniz dedicated the work work the dedicated Albéniz that note to interest Campos Coelho. He, in turn, passed this information not only to his students, students, his to only not information this passed turn, in He, Coelho. Campos One more person I must mention in this recollection is Suite Alhambra Suite , and in with Paris Marguerite Long and Jaques Février. The I was able to play either, but the time waiting was spent listening, reading and reading listening, spent was waiting time the but either, play to able was I The second phase of my piano studies began when I was five years old and Albéniz dedicated his work ‘Triana’, ‘Malaga’ and ‘Eritaña’). That LP, which was very quickly worn out on out worn quickly very was which LP, That ‘Eritaña’). and ‘Malaga’ ‘Triana’, by Goyescas at his home surrounded home his at Goyescas in public, a work he mastered. I was privileged was I mastered. he work a public, in Goyescas maternal grandparents, my parents and I lived, my grandmother, Berta da amongst his pupils – in addition to my grandmother and myself – the composer the – myself and grandmother my to addition in – pupils his amongst premiered many works of composers such as Debussy, Ravel, Albéniz and promoter to perform to promoter by his students and friends. The importance of mentioning him is simply that simply is him mentioning of importance The friends. and students his by by Albéniz, Granados, Turina, Maláts and but others taught were to not only the played numerous students with whom my grandmother and Some of the earliest memories I have of listening to piano music are of given the support or the opportunity by any Portuguese organisation or to hear one of his private performances of performances private his of one hear to he came specifically from the world that Granados and Albéniz frequented. repertoire from this country became encyclopaedic. Ricardo Viñes had repertoire repertoire by Spanish composers. In the apartment building where my with Isidor Philipp. He formed a trio with two other students Portuguese in where the trio often performed. Subsequently Campos Coelho studied with were ‘Requiebros’ and ‘Quejas, ó la Maja y el Ruiseñor’ from with Evaristo Campos Coelho, her piano duo partner. Many different works different Many partner. duo piano her Coelho, Campos Evaristo with Campos Coelho, one of the leading pianists and teachers of his day, counted day, his of teachers and pianists leading the of one Coelho, Campos Campos Coelho shared teaching hours. Most repeated among these works Granados and his first-hand information would have been invaluable to Granados. I can honestly say that I have known these works all my life. say that I have known these works all my life. Granados. I can honestly Nóbrega, kept her two . There she practised, taught and rehearsed He studied firstly inPortugal with JoséVianna da Motta and then inParis Paris and was one of many frequent guests at Princesse de Polignac’s soirées soirées Polignac’s de Princesse at guests frequent many of one was and Paris My travels through the Spain of Albéniz and Granados of Albéniz the Spain through My travels Ricardo Viñes in France and in Spain where his knowledge of the piano António Victorino d’Almeida and the Maria João Pires. He was never was He Pires. João Maria pianist the and d’Almeida Victorino António

page four page seven page size and length or width of fingers; my age; my cultural background; my life experience), experience), the final resultwill be something entirely different but made makers who have been most true to their original sound without alteration. my choice. I wanted a piano with an action not too dissimilar to the pianos of piano This building was between the Wars. the departure World point of the without sound period certain a for looking was I way a In sound! on-wire only as the instrument I play and for which amazing repertoire exists, but a rather large desert island… One of the makes I have probably had the and maybe Érards) and a slightly slimmer, bell-like sound. Good old wood- afraid of listening to other people’s interpretations as it is a way to learn physical frailty and frustrations of a period piano. The Blüthner gave me all from and honour all their time and experience devoted to the music. The fact that it is my body making the gestures (my hands with their different longest association with has been I Yamaha. am also charmed and in love hers, emotionally, intellectually, and above all, physically. I have never been the richness and variety of their instruments I would feel very limited and restricted. I own examples of various makes: Bechstein, Broadwood, Estonia, Broadwood, Bechstein, makes: various of examples own I restricted. richer by all that has trickled through my ears to my brain. that has trickled through richer by all develop to me led has This why. and do, can it what itself, machine the rather with the sound and touch of Blüthner pianos who, in my opinion, may be the be may opinion, my in who, pianos Blüthner of touch and sound the with imitate imitate her, even if I had wanted to, as her interpretation is so thoroughly Gaveau, Longman & Broderip, Petrof, and Steinway. I really would need very interesting relationships with a number of piano builders and without International International Pianoforte Competition later that year. I don’t think I could recording. this for piano of choice my of explanation brief a give to like would I I have, over the years, become more and more interested in the piano, not To play them is really to go back in time to the sound from the ‘Golden Age’ To Albéniz and Granados would have had contact with (mainly Gaveaus, Pleyels Gaveaus, (mainly with contact had have would Granados and Albéniz and at least two Iberia which I was preparing for the Leeds the for preparing was I which finally enabled me to have the courage Iberia She told me this personally when I had the Third Piano Piano Third are the standard by which all are judged. Her recent edition . Similarly, I must also mention Antonio Iglesias and Guillermo Goyescas so generously shared through her three recordings of so ideally suited to this work. Add to this his ability to inspire young piano course, must come the one person without whom Spanish classical piano musical – faced by pianists who, like moths, are attracted to the flame of missed Alicia de Larrocha. Her life experience with these works which she opportunity to hear her live in recital in City in 1990 and went to see to went and 1990 in City Kansas in recital in live her hear to opportunity Rachmaninoff’s of of of the complete piano works of Granados in collaboration with Douglas her backstage. I wanted to let her know how much I admired her recording those recordings, I heard Alicia de Larrocha’s voice in my head repeating: to take that work onto the stage and later into the recording studio. Other hopefuls to persevere, and you have an explosively exciting combination. combination. exciting have an explosively and you to persevere, hopefuls recordings that have been sources of inspiration are those by Rosa Sabater, repertoire would not be known nearly as well in the world, the greatly was maybe a little less direct but no less meaningful, are the ones who influenced me through their recordings or performances. stage Firstly, of Gonzales whose editions of y el Ruiseñor’ by Myra Hess. y el Ruiseñor’ Goyescas Leopoldo Querol, Esteban Sanchez, Ricardo Requejo and Rafael Orozco. Moura Lympany’s and moving recording of ‘Quejas, ó la Maja an amazingly Moura Lympany’s Recordings of individual movements Recordings which have also influenced me include Riva has shed much new light on the multitude of problems – technical and Through all the years listening and distilling the information given through These are the artists to whom I owe direct gratitude. Others, whose influence influence whose Others, gratitude. direct owe I whom to artists the are These “You “You must not imitate me!”.

page six page nine page was Iberia May 1906 th January 1908 nd . The great French . Composed in four February 1909 (Société Nationale February th Gaspard de la nuit . Fernando becomes jealous of the bullfighter Paquiro Paquiro bullfighter the of jealous becomes Fernando . September 1907 (St. Jean de Luz), 2 th is the wonder for the piano; it is perhaps on the highest place among Majos Enamorados Majos Iberia the more brilliant pieces for the king of the instruments” suite although the material is arranged in a different order with new material material new with order different a in arranged is material the although suite ghost The nightingale. beautifully-sounding wise, a with concerns her shares composed, composed, including the famous ‘Intermezzo’ premiered in the New York composed between 1905 and 1909. Olivier Messiaen said of this work de Musique) respectively. The individual movements were composed in dense with hands frequently playing over one another and even through dramatic dramatic and forceful. The plot of the opera is very applicable to the piano men first quarrel. The ‘Maja el Ruiseñor’y movement where Rosario is mind-numbingly difficult asRavel’s a different order than the one originally published, and even the titles pianist Blanche Selva gave the premières of each book on 9 performances have flourished on the concert stage. Each individual piece books of three pieces each, it is musical Impressionism on a par with titles to be played as a whole, but over time both partial and complete through melodies and dance rhythms. The piano writing is uncommonly two movement. the ‘Ballad’ who pays too much attention to Rosario. The is ‘Fandango’ where the two is a fine portrait of a different area or characteristic of evoked Spain in the ‘Serenade’ is Fernando returning to haunt Rosario after his death in underwent some changes. Albéniz did not specifically intend all twelve Debussy or Ravel. The technical writing is totally original and at least as Metropolitan Metropolitan Opera staging. The characters Rosario and Fernando are the (Salle Pleyel), 11 and 9 de of Polignac) Princesse (Palais Albéniz’s Spain is a different experience altogether. The suite “ . April 1914. April nd was composed was Goyescas . March 1911. Book 2, with “Los Majos Enamorados” th Iberia and Goyescas same name and it will become apparent why this was even possible. The piano The possible. even was this why apparent become will it and name same share with you some facts about facts some you with share shape shape and mould without any previous “imprints”. In simple terms: a piano strength of a new piano and a very, very fast action. This is what Blüthner challenging and really pushes the envelope of what pianos of the time could chosen chosen means the slate really was clean and the piano was really mine to end result is quite technically original and with a strongly rhapsodic, almost does so well. does so well. of Goya’s darker side. This is a Madrid of the past, maybe only existent in obvious. This crowning achievement by Granados was originally written in of this and more. The fact that the particular piano used was hours old when old hours was used piano particular the that fact The more. and this of achieve. Although one can find the influence of Lisztian piano writing, the première performance, this time in Paris at the Salle Pleyel on 2 on Pleyel Salle the at Paris in time this performance, première by Enrique Granados in 1911 and is subtitled to the dynamic and tonal capabilities of the piano, Granados gives voice to most the to subtle most the from emotions of range complete a with story his two books. The first, comprising the first four titles, was started in 1909 and the gave Granados again and 1911 in completed was titles, two remaining the which would literally gain flesh in the opera version. Extremely well suited writing is vocally-inspired and the movement titles make a story line quite with the sound of the beginning of the century with the build quality and improvisatory flavour. This is the Spain of Goya but somewhat sanitized finished in 1910. Granadosgave the première performance of Book 1 at the Goya’s paintings, giving the background for a romantically stylised love story love stylised romantically a for background the giving paintings, Goya’s Granados would later transform this suite for piano into an opera with the Having shared with you my journey so far with these works I would like to Palau de la Palau Música Catalana in Barcelona on 11 The language of these six movements is highly romantic, technically very

page eight page eleven page . of lo castizo habañera ’s anguished singing singing ’s anguished cantaor . where the where coplas palo flamenco is a district of Madrid represented by a represented of Madrid is a district was Debussy’s favourite movement of the suite and its was Debussy’s favourite is again one of the more technically demanding pieces of the more technically is again one is a is the sleepy but beautiful wine-producing town near but beautiful wine-producing is the sleepy , 2010 Jerez’ Eritaña’ supreme technical wizardry with an ending quote of wizardry with an supreme technical Albéniz. seen through the eyes of of his most evocative approximately an hour and a half of a whirlwind tour of Spain as approximately an hour harmonic texture, with Albéniz presenting the listener with some the listener with with Albéniz presenting harmonic texture, with its Andalusian flamenco sounds and perfumes. flamenco sounds with its Andalusian is superbly illustrated. is superbly provides an exhilarating end to infectious, uplifting character ‘El Polo’ ‘Lavapiés’ ‘Málaga’ Huelva and . It is written in a very dense, technical and It is written in a very dense, Portugal. Huelva and Artur Pizarro embarking on the long journey of learning these two exquisite works and we, and works exquisite two these learning of journey long the on embarking more present in recital halls throughout the world is the sheer difficulty of their performance. This should not be a reason to scare anyone off and preparatory work available to help us along this thorny path. May the performers and listeners alike, are privileged today to have so much research much so have to today privileged are alike, listeners and performers for me to record it for you. this recording. Hopefully it will be as pleasurable and fun for you as it was rewards this music has brought me personally be shared by all who listen to written for piano. The only reason I can think of as to why they are not in Spain and are two of the most important works of the twentieth century ‘ ‘ Book 4 The two works on this recording represent the pinnacle of piano composition composition piano of pinnacle the represent recording this on works two The © but also very Alhambra, representing the town of Cádiz. representing the town describes the Corpus-Christi Day procession describes the Corpus-Christi zapateado is a district of present day Granada where its is reminiscent of Spain. Through the rhythms of a is reminiscent of Spain. is a portrays the town it is named after, Ronda in named after, Ronda portrays the town it is is pictured through the dance rhythms of this is pictured through the has all the melodic and rhythmic richness of the gypsy has all the melodic and rhythmic richness of the difficult to read, not to mention to play. Many hours must be be must hours Many play. to mention to not read, to difficult strong percussive rhythms used throughout this movement. strong percussive rhythms used throughout this southern fandango and a northern jota, Albéniz creates a general southern fandango and quarter of Seville. picture of what he feels for Spain. picture of what he feels in Seville. ‘Almería’ ‘Triana’ ‘El Puerto’ ‘Fête-Dieu à Seville’ ‘Rondeña’ ‘El Albaicín’ ‘Evocación’ Moorish ancestry gave it not only the Andalusia. Andalusian province with its strong Moorish past. Iberia score of score to dedicated already editions of help the with even performer, the by spent each other! Complicated key signatures, frequent specific instructions in of the movements and at one point considered destroying the work as he performer and audience alike. performer and audience training the notes into the fingers.Albéniz could not actually play some thought it too insurmountable for a pianist’s physical abilities.the Achievingconfidence to be able to deal with the musical aspects of the work is this task, correcting frequent misprints and redistributing text to suit their hands. Only after this can one even begin to tackle the gargantuan task of when the treasures of this magical world begin to yield themselves to the

Book 3 Book 2 Book 1 French French and Italian, and sometimes confused hand distribution make the

page ten page thirteen page piano maternal grandmother, pianist Berta da Nóbrega, and her piano-duo partner, partner, piano-duo her and Nóbrega, da Berta pianist grandmother, maternal of Costa, Artur won first prizes in the 1987Vianna da Motta Competition, at the São Luíz Theatre in and made his concerto debut with the at the 1990 Leeds International Pianoforte Competition, which marked the performance at the age of three and made his television début on Portuguese Portuguese on début television his made and three of age the at performance beginning of an international concert career. the 1988 Greater Palm Beach Symphony Competition and won first prize television at the age of four. He had been introduced to the instrument by his by instrument the to introduced been had He four. of age the at television had also been a student of da Vianna Motta and of Mark Hamburg, Edwin him a broad education in both the German and French piano schools and and Lisbon, in Moyano Jorge with studied also Artur USA, the in studies his repertoire. After initial studies in Lisbon, Artur moved to Lawrence, Kansas Lawrence, to moved Artur Lisbon, in studies initial After repertoire. with the world’s leading and conductors including Sir Simon in Paris worked with Aldo Ciccolini, Géry Moutier and Bruno Rigutto. with Aldo Ciccolini, Géry Moutier and Bruno worked in Paris immersed Artur in the tradition of the ‘Golden Age’ of pianism and gave Distinguished is who Costa Sequeira with working continued and USA the in Campos Coelho, who was a student of Vianna da Motta, Ricardo Viñes and da Motta, Ricardo Viñes of Vianna who was a student Campos Coelho, later in the same year. While still under the tutelage Esa-Pekka Esa-Pekka Salonen, Yuri Temirkanov, Vladimir Fedoseyev, , Born in Lisbon, Portugal in 1968, Artur Pizarro gave his first public Fischer, Marguerite Long and Jacques Février. This distinguished lineage Professor of Piano at the University of Kansas. During a brief interruption of interruption brief a During Kansas. of University the at Piano of Professor Isidor Philipp. From 1974 to 1990 Artur studied with Sequeira Costa who Rattle, Rattle, , , Sir , Artur PizarroArtur Artur began performing publicly again at the age of 13 with a recital début Artur Pizarro performs internationally in recital, and

page twelve Franz Welser-Most, Tugan Sokhiev, Yakov Kreizberg, Yannick Nézet-Séguin, Libor Pešek, and Sir Charles Mackerras. Artur is an active chamber musician and has performed at chamber music festivals throughout the world. In 2005 he formed the Pizarro Trio with violinist Raphaël Oleg and cellist Josephine Knight. Artur also performs as Discover the world of Linn Records a piano duo with Vita Panomariovaite. The duo released Rimsky-Korsakov – Linn Records is home to some of the world’s finest classical talent. As extensive as it is diverse, Piano Duos (Linn CKD 293) to great acclaim with BBC Online observing “the the catalogue boasts an array of exceptional performers ranging from the Scottish Chamber two pianists respond with a unity that shimmers”. Orchestra, Dunedin Consort and Fitzwilliam Quartet to James Gilchrist and Pamela Thorby. Linn Records’ classical recordings have received great critical acclaim and numerous awards After performing the cycle of Beethoven’s 32 piano sonatas in the United and plaudits. In 2009 ‘Mozart Symphonies 38- 41’ by the SCO and Sir Charles Mackerras won the prestigious BBC Music Magazine ‘Disc of the Year’ and the ‘Critics’ Award’ at the Classical States and twice in Portugal, Artur performed the cycle at St. John’s, Smith BRITs. Further successes include the Dunedin Consort’s recording of Handel’s ‘Messiah Square, which was broadcast by BBC Radio 3. The cycle earned (Dublin Version, 1742)’ which was named ‘Baroque Vocal of the Year’ at the Classic FM Artur a Royal Philharmonic Society nomination for ‘Best Series’. Gramophone Awards in 2007 and won the ‘Baroque Award’ at the 2008 Midem Awards. Throughout 2005-06 Artur dedicated himself to performing the complete Linn recordings are all available to download at high resolution from the award-winning website solo works of Ravel and Debussy in England and Denmark. All six www.linnrecords.com in London were broadcast by BBC Radio 3 and Artur has recorded ‘The Downloads can be enjoyed on the Linn DS range of products which are the first digital stream Complete Piano Works of Volumes I and II’ for Linn Records players to deliver specialist performance and convenience completely in harmony with how people live. Linn DS products offer maximum freedom of choice for customers. All Linn systems (Linn CKD 290 and 315) . are modular, upgradeable and expandable, so choosing Linn is an investment in an authentic In April 2009 Linn Records released Artur Pizarro’s recording Beethoven specialist system. Linn retailers are trained to the highest standard to help you select the best system to meet your current and future needs through expert demonstration and consultation, Piano Concertos 3, 4 & 5 (Linn CKD 336) with Sir Charles Mackerras and the installation and after-sales service. Linn standards ensure that whichever system you choose, Scottish Chamber Orchestra. you will experience the thrill and emotion of the original performance like never before.

To mark the 200th anniversary of Chopin’s birth, throughout 2010 Artur will Linn, GLASGOW Road, Waterfoot, Glasgow G76 0EQ UK page fourteen perform an epic cycle of the complete solo piano works of the composer. t: +44 (0)141 307 7777 f: +44 (0)141 303 5007 e: [email protected] w: www.linnrecords.com / www.linn.co.uk page fifteen