An Enduring Timeline

Chopin was not the first, but he was transcendental in introducing the Romantic piano music of his country. In the mazurkas, polonaises, waltzes, and even in the nocturnes, there is a Polish echo of the distant homeland where part of his heart and identity would always remain. As did the Pole, a fabulous group of Spanish composers midway between the 19th and 20th centuries also turned to Paris as the world capital of music.

As well, they incorporated their own memories of melodies and rhythms to the piano repertoire, forging a musical language which enhanced the path without losing sight of its roots.

Javier Perianes, heir by right of the grand school of Spanish piano, takes us on a tour across three worlds with which he is very well acquainted. With the romanticism of Chopin as a reference point, he unveils a side of Manuel de Falla that is less known. On the 150th anniversary of his birth, the young pianist had not yet revealed his full breadth as a composer. Nonetheless, he stood out and surprised listeners. Listen to his Cancion and try not to think of Satie. Joining Falla, is Isaac Albéniz and his Iberia, a musical monument by a landscape artist that transcends any anecdote or folkloric aesthetic.

 Falla,  Nocturno / Mazurka /  Serenata Andaluza / Canción / Cuatro Piezas Españolas (Aragonesa, Cubana, Montañesa, Andaluza)
 Chopin, Nocturno, op. 27 n.o 2 / Mazurka, op. 7 n.^o 2 / Mazurka, op. 67 n.^o 1 / Vals, op. 34 n.^o 2 / Berceuse
 Albéniz, Iberia (Selección: Evocación, El Polo, Almería, Triana)