Full Album available // Granados & Albéniz: Piano Works by José Iturbi 🎧 Qobuz (Hi-Res/flac) cutt.ly/eeJXfb32 Tidal (Hi-Res/flac) cutt.ly/oeJXfEO2 🎧 Apple Music (Lossless) cutt.ly/peJXfO9o Deezer (Hi-Fi) cutt.ly/TeJXfGa0 🎧 Amazon Music (Hi-Res/flac) cutt.ly/eeJXfZVb Spotify (mp3) cutt.ly/YeJXf8pT 🎧 Idagio (Hi-fi) cutt.ly/3eJXd3qt RUclips Music (mp4) cutt.ly/ceJXgw2Z 🔊 Download the album (Hi-Res MASTER - WAV uncompressed) cutt.ly/Classical-Music-Reference-Recording-Website-Iturbi-Granados-Albeniz Isaac Albéniz (1860-1909) Piano Worrks by José Iturbi Enrique Granados (1867-1916) Piano Works by José Iturbi 00:00 Danza Española No. 5 in E minor, IEG 6: Andaluza (2024 Remastered, Paris 1959) 04:13 Danza Española No. 10 in G Major, IEG 6: Danza Triste, Melancólica (2024 Remastered, Paris 1959) 08:12 Danza Española No. 12 in A minor, IEG 6: Bolero, Arabesca (2024 Remastered, Paris 1959) 13:58 Allegro de Concierto in C-sharp Major, Op. 46 (2024 Remastered, Paris 1959) Piano: José Iturbi Recorded in 1959, at Paris New mastering in 2024 by AB fo CMRR 🔊 Join us with your phone on our WhatsApp fanpage (our latest album preview): cutt.ly/5eathESK 🔊 Find our entire catalog on Qobuz: cutt.ly/geathMhL 🔊 Discover our playlists on Spotify: cutt.ly/ceatjtlB ❤ If you enjoy CMRR content, you can join our Patreon page and support our investments in equipment and software for $3,50 per month. Thank you very much :) www.patreon.com/cmrr Hollywood had good taste in pianists: Oscar Levant and José Iturbi were consummate virtuosos and real personalities. If Iturbi's features, as distinctive as Levant's, earned him some juicy, often humorous, jobs as a team player, his Latin lover physique meant he could play more than bit parts, as Holiday in Mexico proves. But his main claim to celebrity in films is as the hands of Chopin in A Song to Remember, and this fame, far from being a drawback, made him an essential actor on the American musical scene. Born on 28 November 1895 in Valencia, he naturally received his excellent initial piano training at the conservatoire in his hometown, where he was a favorite pupil of the formidable Joaquín Malats. For pleasure as well as necessity, Iturbi was playing in the cafés of Valencia when he was barely ten years old. There he was discovered by an astonished Emil von Sauer, who somehow managed to raise the necessary funds to send the young man to the Paris Conservatoire. He entered the class of Victor Staub, a follower of Marmontel and Diémer: Iturbi refined his style, worked a lot on Chopin, and honed his technique by comparing and contrasting it with the French school, with high, loose wrists and pearly touch. This was just the enhanced elegance needed to give a polish to the dazzling range of colors which his pianism seemed to have naturally at its disposal. His efforts were rewarded in 1913 with a Premier Prix, quickly pocketed before a hasty return to Barcelona at the beginning of 1914: the Great War was approaching. During the war, Iturbi scraped by, giving lessons to his sister Amparo (1899-1969), herself an accomplished virtuoso with whom he often appeared as a duo. After the signing of the armistice, he accepted without any real enthusiasm a teaching post at the conservatoire in Geneva, which he held from 1918 to 1922 before returning to Spain, and then trying his luck a little around Europe. Paris quickly became his base, and Gabriel Pierné put him in charge of the Concerts Colonne. In 1924 Iturbi took on the complete Iberia for the first time, performing it in a single concert at the Palais des Beaux-Arts in Brussels. But the New World beckoned, and in 1929 he settled in the United States, undertaking a coast-to-coast tour of 77 concerts in 1930. He conquered South America and in 1933 undertook a marathon cycle of fifteen concerts in Mexico, performing all his main repertoire. In 1937 came a radio broadcast of his performance, with Amparo, of Mozart's Double Concerto, as part of the New York Philharmonic-Symphony Orchestra's season, which further increased his popularity. During the war, Iturbi's American career attained heights it would never see again. The lure of Hollywood was already strong: in 1943 George Sydney offered him a small part in Thousands Cheer, the stars of which were no less than Kathryn Grayson and Gene Kelly. Iturbi settled outside Los Angeles, and for the next few years was to become a legendary movie pianist. His playing, however, did not suffer from this move. On the contrary, Victor captured an impressive number of fascinating 78s by him in their studios: the masculine tone, the direct approach, the profusion of colors in which the reds are now more vivid and the blacks more inky, show a pianist who has arrived at maturity. The LPs he recorded in Paris at the end of the '50s display his genius for almost pictorial expression. This has hardly dimmed with time; on the contrary, we notice everywhere a rhythmic vivacity, a brio and an imagination that give his Ravel performances a frank sensuality. And Iturbi makes the Spanish pieces sound almost like flamenco: listen to the stamping and the impish fantasy in his Albéniz, the full-blooded elegance in Granados's Allegro de concierto. /José Iturbi possesses a truly infinite palette of colors and sounds, and, like Alicia de Larrocha, interprets the music of his country to perfection./ (...) Since 28 June 1980 he has rested at the Holy Cross Cemetery outside Hollywood. Jean-Charles Hoffelé Other Album available // Debussy & Ravel: Piano Works by José Iturbi 🎧 Qobuz (Hi-Res/flac) cutt.ly/3eJXgBI3 Tidal (Hi-Res/flac) cutt.ly/MeJXg3v3 🎧 Apple Music (Lossless) cutt.ly/eeJXg6uZ Deezer (Hi-Fi) cutt.ly/zeJXhpOJ 🎧 Amazon Music (Hi-Res/flac) cutt.ly/2eJXhlOr Spotify (mp3) cutt.ly/SeJXhvsM 🎧 Idagio (Hi-fi) cutt.ly/XeJXgjuW RUclips Music (mp4) cutt.ly/eeJXgOuZ Isaac Albéniz & Enrique Granados PLAYLIST (reference recordings): ruclips.net/video/IEBiN_rnGtA/видео.html
Hollywood had good taste in pianists: Oscar Levant and José Iturbi were consummate virtuosos and real personalities. If Iturbi's features, as distinctive as Levant's, earned him some juicy, often humorous, jobs as a team player, his Latin lover physique meant he could play more than bit parts, as Holiday in Mexico proves. But his main claim to celebrity in films is as the hands of Chopin in A Song to Remember, and this fame, far from being a drawback, made him an essential actor on the American musical scene. Born on 28 November 1895 in Valencia, he naturally received his excellent initial piano training at the conservatoire in his hometown, where he was a favorite pupil of the formidable Joaquín Malats. For pleasure as well as necessity, Iturbi was playing in the cafés of Valencia when he was barely ten years old. There he was discovered by an astonished Emil von Sauer, who somehow managed to raise the necessary funds to send the young man to the Paris Conservatoire. He entered the class of Victor Staub, a follower of Marmontel and Diémer: Iturbi refined his style, worked a lot on Chopin, and honed his technique by comparing and contrasting it with the French school, with high, loose wrists and pearly touch. This was just the enhanced elegance needed to give a polish to the dazzling range of colors which his pianism seemed to have naturally at its disposal. His efforts were rewarded in 1913 with a Premier Prix, quickly pocketed before a hasty return to Barcelona at the beginning of 1914: the Great War was approaching. During the war, Iturbi scraped by, giving lessons to his sister Amparo (1899-1969), herself an accomplished virtuoso with whom he often appeared as a duo. After the signing of the armistice, he accepted without any real enthusiasm a teaching post at the conservatoire in Geneva, which he held from 1918 to 1922 before returning to Spain, and then trying his luck a little around Europe. Paris quickly became his base, and Gabriel Pierné put him in charge of the Concerts Colonne. In 1924 Iturbi took on the complete Iberia for the first time, performing it in a single concert at the Palais des Beaux-Arts in Brussels. But the New World beckoned, and in 1929 he settled in the United States, undertaking a coast-to-coast tour of 77 concerts in 1930. He conquered South America and in 1933 undertook a marathon cycle of fifteen concerts in Mexico, performing all his main repertoire. In 1937 came a radio broadcast of his performance, with Amparo, of Mozart's Double Concerto, as part of the New York Philharmonic-Symphony Orchestra's season, which further increased his popularity. During the war, Iturbi's American career attained heights it would never see again. The lure of Hollywood was already strong: in 1943 George Sydney offered him a small part in Thousands Cheer, the stars of which were no less than Kathryn Grayson and Gene Kelly. Iturbi settled outside Los Angeles, and for the next few years was to become a legendary movie pianist. His playing, however, did not suffer from this move. On the contrary, Victor captured an impressive number of fascinating 78s by him in their studios: the masculine tone, the direct approach, the profusion of colors in which the reds are now more vivid and the blacks more inky, show a pianist who has arrived at maturity. The LPs he recorded in Paris at the end of the '50s display his genius for almost pictorial expression. This has hardly dimmed with time; on the contrary, we notice everywhere a rhythmic vivacity, a brio and an imagination that give his Ravel performances a frank sensuality. And Iturbi makes the Spanish pieces sound almost like flamenco: listen to the stamping and the impish fantasy in his Albéniz, the full-blooded elegance in Granados's Allegro de concierto. /José Iturbi possesses a truly infinite palette of colors and sounds, and, like Alicia de Larrocha, interprets the music of his country to perfection./ (...) Since 28 June 1980 he has rested at the Holy Cross Cemetery outside Hollywood. Jean-Charles Hoffelé Other Album available // Debussy & Ravel: Piano Works by José Iturbi 🎧 Qobuz (Hi-Res/flac) cutt.ly/3eJXgBI3 Tidal (Hi-Res/flac) cutt.ly/MeJXg3v3 🎧 Apple Music (Lossless) cutt.ly/eeJXg6uZ Deezer (Hi-Fi) cutt.ly/zeJXhpOJ 🎧 Amazon Music (Hi-Res/flac) cutt.ly/2eJXhlOr Spotify (mp3) cutt.ly/SeJXhvsM 🎧 Idagio (Hi-fi) cutt.ly/XeJXgjuW RUclips Music (mp4) cutt.ly/eeJXgOuZ
Kräftige doch lyrische Interpretation dieser vier spätromantischen und ethnisch komponierten Klavierwerke im veränderlichen Tempo mit klarem doch elegantem Anschlag und mit künstlerisch kontrollierter Dynamik. Die verbesserte Tonqualität ist auch erstaunlich hoch als Originalaufnahmen von fünfundsechzig Jahren vor. Alles ist wunderbar!
Enrique Granados (1867-1916) Piano Works by José Iturbi 00:14 Danza Española No. 5 in E minor, IEG 6: Andaluza (2024 Remastered, Paris 1959) 04:13 Danza Española No. 10 in G Major, IEG 6: Danza Triste, Melancólica (2024 Remastered, Paris 1959) 08:12 Danza Española No. 12 in A minor, IEG 6: Bolero, Arabesca (2024 Remastered, Paris 1959) 13:58 Allegro de Concierto in C-sharp Major, Op. 46 (2024 Remastered, Paris 1959)
Full Album available // Granados & Albéniz: Piano Works by José Iturbi
🎧 Qobuz (Hi-Res/flac) cutt.ly/eeJXfb32 Tidal (Hi-Res/flac) cutt.ly/oeJXfEO2
🎧 Apple Music (Lossless) cutt.ly/peJXfO9o Deezer (Hi-Fi) cutt.ly/TeJXfGa0
🎧 Amazon Music (Hi-Res/flac) cutt.ly/eeJXfZVb Spotify (mp3) cutt.ly/YeJXf8pT
🎧 Idagio (Hi-fi) cutt.ly/3eJXd3qt RUclips Music (mp4) cutt.ly/ceJXgw2Z
🔊 Download the album (Hi-Res MASTER - WAV uncompressed) cutt.ly/Classical-Music-Reference-Recording-Website-Iturbi-Granados-Albeniz
Isaac Albéniz (1860-1909) Piano Worrks by José Iturbi
Enrique Granados (1867-1916) Piano Works by José Iturbi
00:00 Danza Española No. 5 in E minor, IEG 6: Andaluza (2024 Remastered, Paris 1959)
04:13 Danza Española No. 10 in G Major, IEG 6: Danza Triste, Melancólica (2024 Remastered, Paris 1959)
08:12 Danza Española No. 12 in A minor, IEG 6: Bolero, Arabesca (2024 Remastered, Paris 1959)
13:58 Allegro de Concierto in C-sharp Major, Op. 46 (2024 Remastered, Paris 1959)
Piano: José Iturbi
Recorded in 1959, at Paris
New mastering in 2024 by AB fo CMRR
🔊 Join us with your phone on our WhatsApp fanpage (our latest album preview): cutt.ly/5eathESK
🔊 Find our entire catalog on Qobuz: cutt.ly/geathMhL
🔊 Discover our playlists on Spotify: cutt.ly/ceatjtlB
❤ If you enjoy CMRR content, you can join our Patreon page and support our investments in equipment and software for $3,50 per month.
Thank you very much :) www.patreon.com/cmrr
Hollywood had good taste in pianists: Oscar Levant and José Iturbi were consummate virtuosos and real personalities. If Iturbi's features, as distinctive as Levant's, earned him some juicy, often humorous, jobs as a team player, his Latin lover physique meant he could play more than bit parts, as Holiday in Mexico proves. But his main claim to celebrity in films is as the hands of Chopin in A Song to Remember, and this fame, far from being a drawback, made him an essential actor on the American musical scene.
Born on 28 November 1895 in Valencia, he naturally received his excellent initial piano training at the conservatoire in his hometown, where he was a favorite pupil of the formidable Joaquín Malats. For pleasure as well as necessity, Iturbi was playing in the cafés of Valencia when he was barely ten years old. There he was discovered by an astonished Emil von Sauer, who somehow managed to raise the necessary funds to send the young man to the Paris Conservatoire. He entered the class of Victor Staub, a follower of Marmontel and Diémer: Iturbi refined his style, worked a lot on Chopin, and honed his technique by comparing and contrasting it with the French school, with high, loose wrists and pearly touch. This was just the enhanced elegance needed to give a polish to the dazzling range of colors which his pianism seemed to have naturally at its disposal. His efforts were rewarded in 1913 with a Premier Prix, quickly pocketed before a hasty return to Barcelona at the beginning of 1914: the Great War was approaching.
During the war, Iturbi scraped by, giving lessons to his sister Amparo (1899-1969), herself an accomplished virtuoso with whom he often appeared as a duo. After the signing of the armistice, he accepted without any real enthusiasm a teaching post at the conservatoire in Geneva, which he held from 1918 to 1922 before returning to Spain, and then trying his luck a little around Europe. Paris quickly became his base, and Gabriel Pierné put him in charge of the Concerts Colonne. In 1924 Iturbi took on the complete Iberia for the first time, performing it in a single concert at the Palais des Beaux-Arts in Brussels. But the New World beckoned, and in 1929 he settled in the United States, undertaking a coast-to-coast tour of 77 concerts in 1930. He conquered South America and in 1933 undertook a marathon cycle of fifteen concerts in Mexico, performing all his main repertoire. In 1937 came a radio broadcast of his performance, with Amparo, of Mozart's Double Concerto, as part of the New York Philharmonic-Symphony Orchestra's season, which further increased his popularity.
During the war, Iturbi's American career attained heights it would never see again. The lure of Hollywood was already strong: in 1943 George Sydney offered him a small part in Thousands Cheer, the stars of which were no less than Kathryn Grayson and Gene Kelly. Iturbi settled outside Los Angeles, and for the next few years was to become a legendary movie pianist. His playing, however, did not suffer from this move. On the contrary, Victor captured an impressive number of fascinating 78s by him in their studios: the masculine tone, the direct approach, the profusion of colors in which the reds are now more vivid and the blacks more inky, show a pianist who has arrived at maturity.
The LPs he recorded in Paris at the end of the '50s display his genius for almost pictorial expression. This has hardly dimmed with time; on the contrary, we notice everywhere a rhythmic vivacity, a brio and an imagination that give his Ravel performances a frank sensuality. And Iturbi makes the Spanish pieces sound almost like flamenco: listen to the stamping and the impish fantasy in his Albéniz, the full-blooded elegance in Granados's Allegro de concierto. /José Iturbi possesses a truly infinite palette of colors and sounds, and, like Alicia de Larrocha, interprets the music of his country to perfection./ (...) Since 28 June 1980 he has rested at the Holy Cross Cemetery outside Hollywood.
Jean-Charles Hoffelé
Other Album available // Debussy & Ravel: Piano Works by José Iturbi
🎧 Qobuz (Hi-Res/flac) cutt.ly/3eJXgBI3 Tidal (Hi-Res/flac) cutt.ly/MeJXg3v3
🎧 Apple Music (Lossless) cutt.ly/eeJXg6uZ Deezer (Hi-Fi) cutt.ly/zeJXhpOJ
🎧 Amazon Music (Hi-Res/flac) cutt.ly/2eJXhlOr Spotify (mp3) cutt.ly/SeJXhvsM
🎧 Idagio (Hi-fi) cutt.ly/XeJXgjuW RUclips Music (mp4) cutt.ly/eeJXgOuZ
Isaac Albéniz & Enrique Granados PLAYLIST (reference recordings): ruclips.net/video/IEBiN_rnGtA/видео.html
That's wrong, the first piece of music in the video is the Andaluza, not the Allegro de Concierto, this is the last piece.
@@Jordan-fn7nb You're right, thanks for correcting my error.
@@classicalmusicreference You're welcome.
Preciosa esta obra de piano 🙏🌹♥️♥️♥️♥️♥️♥️
¡Más!. Por favor. Gracias.
Thank you Classical Music for sharing this beautiful music ! 😊😊😊😊😊❤❤❤❤❤
❤❤Thank you
Ahhhh! Another wonderful recording. This is just what I needed today! Thank you so much for this labor of love. 💐💐💐💃💝
You're welcome :)
Hollywood had good taste in pianists: Oscar Levant and José Iturbi were consummate virtuosos and real personalities. If Iturbi's features, as distinctive as Levant's, earned him some juicy, often humorous, jobs as a team player, his Latin lover physique meant he could play more than bit parts, as Holiday in Mexico proves. But his main claim to celebrity in films is as the hands of Chopin in A Song to Remember, and this fame, far from being a drawback, made him an essential actor on the American musical scene.
Born on 28 November 1895 in Valencia, he naturally received his excellent initial piano training at the conservatoire in his hometown, where he was a favorite pupil of the formidable Joaquín Malats. For pleasure as well as necessity, Iturbi was playing in the cafés of Valencia when he was barely ten years old. There he was discovered by an astonished Emil von Sauer, who somehow managed to raise the necessary funds to send the young man to the Paris Conservatoire. He entered the class of Victor Staub, a follower of Marmontel and Diémer: Iturbi refined his style, worked a lot on Chopin, and honed his technique by comparing and contrasting it with the French school, with high, loose wrists and pearly touch. This was just the enhanced elegance needed to give a polish to the dazzling range of colors which his pianism seemed to have naturally at its disposal. His efforts were rewarded in 1913 with a Premier Prix, quickly pocketed before a hasty return to Barcelona at the beginning of 1914: the Great War was approaching.
During the war, Iturbi scraped by, giving lessons to his sister Amparo (1899-1969), herself an accomplished virtuoso with whom he often appeared as a duo. After the signing of the armistice, he accepted without any real enthusiasm a teaching post at the conservatoire in Geneva, which he held from 1918 to 1922 before returning to Spain, and then trying his luck a little around Europe. Paris quickly became his base, and Gabriel Pierné put him in charge of the Concerts Colonne. In 1924 Iturbi took on the complete Iberia for the first time, performing it in a single concert at the Palais des Beaux-Arts in Brussels. But the New World beckoned, and in 1929 he settled in the United States, undertaking a coast-to-coast tour of 77 concerts in 1930. He conquered South America and in 1933 undertook a marathon cycle of fifteen concerts in Mexico, performing all his main repertoire. In 1937 came a radio broadcast of his performance, with Amparo, of Mozart's Double Concerto, as part of the New York Philharmonic-Symphony Orchestra's season, which further increased his popularity.
During the war, Iturbi's American career attained heights it would never see again. The lure of Hollywood was already strong: in 1943 George Sydney offered him a small part in Thousands Cheer, the stars of which were no less than Kathryn Grayson and Gene Kelly. Iturbi settled outside Los Angeles, and for the next few years was to become a legendary movie pianist. His playing, however, did not suffer from this move. On the contrary, Victor captured an impressive number of fascinating 78s by him in their studios: the masculine tone, the direct approach, the profusion of colors in which the reds are now more vivid and the blacks more inky, show a pianist who has arrived at maturity.
The LPs he recorded in Paris at the end of the '50s display his genius for almost pictorial expression. This has hardly dimmed with time; on the contrary, we notice everywhere a rhythmic vivacity, a brio and an imagination that give his Ravel performances a frank sensuality. And Iturbi makes the Spanish pieces sound almost like flamenco: listen to the stamping and the impish fantasy in his Albéniz, the full-blooded elegance in Granados's Allegro de concierto. /José Iturbi possesses a truly infinite palette of colors and sounds, and, like Alicia de Larrocha, interprets the music of his country to perfection./ (...) Since 28 June 1980 he has rested at the Holy Cross Cemetery outside Hollywood.
Jean-Charles Hoffelé
Other Album available // Debussy & Ravel: Piano Works by José Iturbi
🎧 Qobuz (Hi-Res/flac) cutt.ly/3eJXgBI3 Tidal (Hi-Res/flac) cutt.ly/MeJXg3v3
🎧 Apple Music (Lossless) cutt.ly/eeJXg6uZ Deezer (Hi-Fi) cutt.ly/zeJXhpOJ
🎧 Amazon Music (Hi-Res/flac) cutt.ly/2eJXhlOr Spotify (mp3) cutt.ly/SeJXhvsM
🎧 Idagio (Hi-fi) cutt.ly/XeJXgjuW RUclips Music (mp4) cutt.ly/eeJXgOuZ
So glad I found this randomly
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Kräftige doch lyrische Interpretation dieser vier spätromantischen und ethnisch komponierten Klavierwerke im veränderlichen Tempo mit klarem doch elegantem Anschlag und mit künstlerisch kontrollierter Dynamik. Die verbesserte Tonqualität ist auch erstaunlich hoch als Originalaufnahmen von fünfundsechzig Jahren vor. Alles ist wunderbar!
Enrique Granados (1867-1916) Piano Works by José Iturbi
00:14 Danza Española No. 5 in E minor, IEG 6: Andaluza (2024 Remastered, Paris 1959)
04:13 Danza Española No. 10 in G Major, IEG 6: Danza Triste, Melancólica (2024 Remastered, Paris 1959)
08:12 Danza Española No. 12 in A minor, IEG 6: Bolero, Arabesca (2024 Remastered, Paris 1959)
13:58 Allegro de Concierto in C-sharp Major, Op. 46 (2024 Remastered, Paris 1959)
You're right, thanks for correcting my error.
💘🎼💘
Перевести
🫶🌟🗽
감사합니다