Photo: Marco Borggreve

Photo: Marco Borggreve


A remarkable small oeuvre, but as played here always charming and felicitous: the earliest pieces are entirely Chopinesque, then we hear echoes of Satie, Grieg, Ravel and above all Granados.


Rodriguez’s dazzling in his virtuosic technique, and every note of the complex keyboard writing is beautifully captured in recorded sound far exceeding de Larrocha’s accounts.


…Rodríguez’s playing…is exemplary. It is beautifully crafted, sensitively shaped and clearly shows a great empathy for the composer’s style.

…this CD definitely has a real appeal and attraction. Couple this with a superb piano sound and recording, and it really does make it quite hard to resist.


Manuel de Falla’s small oeuvre includes symphonic, instrumental, vocal and theatrical music. Yet for each genre the piano is clearly Falla’s source of inspiration, and piano music is the largest catalogue amongst his instrumental works. In all other works, the “genetic code” of the music is only modified by external factors. Looking at his complete piano works from Nocturno to Pour le Tombeau by Paul Dukas, evolution of the musical language is obvious: the early works are still under the influence of Chopin’s romanticism, and his later works – especially from Cuatro Piezas Españolas onwards – show introvert purity and essence.

Even if Falla’s oeuvre is small, it has a quality that reminds of Ravel, whom he greatly admired. Its quality “never fails”, and each work shows the composer’s need to create it for a specific reason. What was written and what is there, is what must be – no more and no less. For any creative person, creating means developing thoughts into a piece of art, but this can happen in two different ways: First, as a compulsive impulse to constantly develop the creation further, like Picasso, a contemporary and friend of Falla’s. Or, second, as a process of reflection while creating, like Falla himself. Later in his life, this constant reflection became an obsession, especially while he tried to compose Atlántida, an “impossible” (failed”?) project that dragged his spirit into depression and bitterness searching his own creative personality.

Gonzalo Pérez Chamorro - RITMO MAGAZINE