1. Galante - Minueto 
2. Oriental 
3. Fandango - Zarabanda 
4. Villanesca 
5. Andaluza 
6. Rondalla aragonesa - Jota 
7. Valenciana 
8. Sardana - Asturiana 
9. Mazurka Romántica 
10. Danza Triste - Melancólica 
11. Zambra 
12. Bolero – Arabesca

Angel & Caledonio Romero – guitars

Granados's piano music is a familiar stamping ground for guitarists but, though they have done more than their fair share of keeping it alive through its earlier recession, it is only pianists who have hitherto recorded all 12 of the Danzas espanolas, wrongly described on this recording as Op. 5. Several of these dances are long familiar as guitar solos but many defy satisfactory transfer to that medium, and in consequence are commonly allotted to two or even three guitars. A single player, be he/she a pianist or a guitarist, has sole domain over the rubato that is a vital part of this music and it is hard to share it freely between two (let alone three) players of an essentially percussive instrument, which the guitar is, yet two are needed. Three things can be very helpful: Spanish blood, kinship between the two players, and unconstrained technical command, and they are all possessed by the Romeros.

The original keys of the dances are preserved—ten are in very 'guitaristic' keys anyway, as are, equally faithfully, the elements of sweetness, fire and flexibility. What is added is a range of tone-coloration beyond anything one piano can offer, and in music such as this it is (when applied tastefully, as here) enhancing rather than distracting or inappropriate. Their accord in ensemble is 100 per cent; that in tuning is occasionally a little less, despite which I cannot but recommend this record of superbly played, romantically sanitized vignettes of Spanish life. They make an interesting complement to either of the two complete piano versions you will find in your Classical Catalogue. --- John Duarte, Gramophone

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1 Piano Trio - I. Poco allegro con espressione
2 Piano Trio - II. Scherzo. Vivace molto
3 Piano Trio - III. Duetto. Andante con sentimento
4 Piano Trio - IV. Finale. Molto allegro
5 Madrigal
6 Danza gallega
7 Trova
8 Romanza
9 Tres Preludios - I. La gondola
10 Tres Preludios - II. El toque de guerra
11 Tres Preludios - III. Elevacion
12 Violin Sonata - I. Lentamente e con molta fantasia
13 Violin Sonata - II. Scherzo (unedited)
14 Violin Sonata - III. Andante (unfinished)
15 Violin Sonata - IV. Finale. Allegretto (unfinished)

Trio Rodin:
Carles Puig, Violin
Esther Garcia, Cello
Jorge Mengotti, Piano

ÆVEA label is proud to introduce Trio Rodin's first CD with a new version of the Granados' Piano Trio based on the manuscript found at the "Museu de la Musica de Barcelona" (instead of the commonly played edition, UME). Besides, the CD includes the world's first recording of Granados' Trova, an arrangement by the composer himself of his most famous chamber orchestra piece "Elisenda".

The sonata for violin and piano in another of the surprises offered to the listeners here: "We knew about the existence of the manuscripts of a second, third and fourth movements; but no one has dusted them off and shown them to an audience till now. A complete second movement, and two other unfinished, are presented here as a première of what it is, without any doubt, one of his greatest chamber music works." ---Trio Rodin, onclassical.com

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Enric Granados - Quinteto in G Minor (Versión Madrid)
1. Allegro
2. Allegretto quasi andantino
3. Largo – molto presto

Enric Granados - Trio in C, Op. 50
4. Poco allegro con espressione
5. Scherzetto, Vivace molto
6. Duetto, Andante con molta espressione
7. Finale, Allegro molto

Isaac Albeniz & Enric Granados
8. Azulejos para Piano Solo

Enric Granados - Quinteto in G Minor (Versión Barcelona)
9. Allegro
10. Allegretto quasi andantino

Jean Bernard Pommier – piano
Santiago Juan – first violin
Cristian Benito – second violin
Alejandro Carrida – viola
Marius Diaz – cello

Both Granados and Albéniz are associated with Spanish Nationalism but in fact they went further in their impact to the music influencing the piano playing technique.

The most important chamber works by Granados were his trio and quintet, twice included in this CD. Albéniz started to write Azulejos shortly before his death. Granados finshed his work. Probably the composer wanted write a suite in which Azulejos was the prologue.

All the works in this album are published by Tritó with the exception of Azulejos, which was recently published in an excellent edition by the Biblioteca de Catalunya. --- trito.es

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1 	Los Requiebros (Flattery) 	9:52
2 	Coloquio En La Reja (Dialogue At The Window) 	11:45
3 	El Fandango De Candil (Candlelit Fandango) 	6:13
4 	Quejas O La Maja Y El Ruiseñor (Laments Or The Maja And The Nightingale) 	6:19
5 	El Amor Y La Muerte (Love And Death) 	11:40
6 	Epílogo: Serenata Del Espectro (Epilogue: The Ghost's Serenade) 	8:17
7 	El Pelele (The Straw Man) 	4:53
8 	Serenata Goyesca (Serenade In The Style Of Goya) 	3:35

Douglas Riva – piano

The American pianist Douglas Riva has gained international recognition for his profound knowledge of Spanish music, and no less an authority than the distinguished Spanish composer Xavier Montsalvatge has described him as an exceptional pianist. Douglas Riva’s interpretations of the works of Enrique Granados, in particular, have earned him a place as one of this composer’s leading exponents worldwide, praised in the Spanish press and elsewhere. His recordings for Naxos of the complete piano works of Granados have won critical acclaim, notably in Spain, the United Kingdom, Japan and the United States. --- naxos.com

Enrique Granados left relatively few works. The best known is Goyescas, the suite of piano pieces he composed between 1909 and 1912 and subtitled Los Majos Enamorados – "the majos in love" – inspired by the paintings of Goya. Granados later used the works as the basis of his opera of the same name. It's a substantial cycle. The six pieces last over 50 minutes, and though all of them are descriptive, programmatic almost, incorporating Spanish inflections such as popular songs and verse and dance forms, the style of the piano writing can be traced back to Chopin and Liszt. It's that side of Granados's music that is brought out in Garrick Ohlsson's technically immaculate performances. Other pianists might play up the music's nationalism, but it's the connection with the 19th-century mainstream Ohlsson emphasises. As an appendix, he also includes El Pelele, the "Goyescan scene" Granados composed in 1913, and a much earlier Concert Allegro in which the Lisztian connection is obvious. --- theguardian.com

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