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Échos

Échos in Bloomington, MN
Current price: $22.99
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Pianist
Charles Richard-Hamelin
(no relation to
Marc-André
) has issued various
Chopin
albums on the
Analekta
label, and with this 2025 release, he became one among many to focus on
's influence on
Enrique Granados
,
Isaac Albéniz
, and the other Spaniards who came to Paris. That influence is a standard feature of program notes, but here,
Richard-Hamelin
goes a bit deeper into the phenomenon. He is aided by useful booklet notes from
Florence Brassard
, who points out that
Granados
had the odd but instructive habit of assigning opus numbers not in order but according to whatever scheme he felt like using. Thus, she says mildly, the common "Op. 46" number between his
Allegro di concierto
and
's
Allegro de concert
"may not be a coincidence." The two works have a similar feeling of having a concerto wedged into a solo piece, and
earns commendation for bringing out the
; it is not often heard these days, but pianists knew it better in
' day, and
said he would return to perform it in a free Poland (an ambition never realized). Between the two allegros in concert is effectively placed
Albéniz
's programmatic
La Vega
. The
Valses poéticos, Op. 43
, of
, are another highlight here; the influence of
seems direct, but listen again, and other ideas, notably those of
Schumann
, are creeping in.
concludes with
after laying this groundwork; his readings are to the straightforward side, but this works with all the échos lingering in the air. A strong release pertaining to the
tradition. ~ James Manheim
Charles Richard-Hamelin
(no relation to
Marc-André
) has issued various
Chopin
albums on the
Analekta
label, and with this 2025 release, he became one among many to focus on
's influence on
Enrique Granados
,
Isaac Albéniz
, and the other Spaniards who came to Paris. That influence is a standard feature of program notes, but here,
Richard-Hamelin
goes a bit deeper into the phenomenon. He is aided by useful booklet notes from
Florence Brassard
, who points out that
Granados
had the odd but instructive habit of assigning opus numbers not in order but according to whatever scheme he felt like using. Thus, she says mildly, the common "Op. 46" number between his
Allegro di concierto
and
's
Allegro de concert
"may not be a coincidence." The two works have a similar feeling of having a concerto wedged into a solo piece, and
earns commendation for bringing out the
; it is not often heard these days, but pianists knew it better in
' day, and
said he would return to perform it in a free Poland (an ambition never realized). Between the two allegros in concert is effectively placed
Albéniz
's programmatic
La Vega
. The
Valses poéticos, Op. 43
, of
, are another highlight here; the influence of
seems direct, but listen again, and other ideas, notably those of
Schumann
, are creeping in.
concludes with
after laying this groundwork; his readings are to the straightforward side, but this works with all the échos lingering in the air. A strong release pertaining to the
tradition. ~ James Manheim