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06/08/2026
“Goyescas”
Enrique Granados: Goyescas Suite, opus 11 – Twelve Danzas espanolas, opus 37: n° 2, “Oriental”; n° 5, “Andaluza”
Charlotte Hu (piano)
Recording: MCO 5, Hilversum, The Netherlands (October 18‑20, 2025) – 63’41
Pentatone PTC 5187 522 – Booklet in English
 
Goyescas is stated to garner: “...a personal note, a mixture of bitterness and grace, to rhythm, color and life that are typically Spanish: and a sentiment suddenly amorous and passionate, dramatic and tragic such as seen in the works of Goya.”
Pantaléon Enrique Joaquín Granados y Campina
This Catalán-born composer and pianist was rooted inside a Spanish province of “spirited-resilience”, emanating into a sort of l’indépendance de caractère. Granados preferred more intimacy within his “school of thought”, namely piano compositions. Initiated by Pere Tintorer, the Lérida-native became part of what was known as the modern Catalán school of piano. Goyescas premiered in 1911 as a suite for piano; however, it was later translated into a one‑act opera in 1915. Clearly, Goyescas has to be the most-recognized creation within his musical anthology.
The six pieces within this œuvre were inspired by works of Francisco Goya, even though only two of the movements directly correlate to two of his paintings: “El Amor y la Muerte” (...the second being “El Pelele”, though this isn’t officially documented as a part of Goyescas.)
Enter Charlotte Hu and her vibrantly-hued conversation within this Suite. The pianistic dimensions are extraordinary, conservatively daring and thoughtfully-placed which brings her interpretative qualities of Granados’ music a rather refreshing refresh.
The moment Charlotte Hu hits the opening notes of the familiar “Los Requiebros”, there’s an ingrained energy and dynamism which quickly reveals. Translated “Flirtations”, this aptly personifies the emotional context that’s nicely ingrained. Mlle Hu elicits “uncanny moments of polished exclamation remarks.” Salubriously and unexpectedly, the pianist unfolds pockets of “witty intimacy” and tempered “sassy buoyancy” which often get overlooked: complacent mindsets are shunned, tendering ebullient flourishes like a prevailing wind but with gratifying surprisingness.
Charlotte Hu’s contrasting dialogue within “Coloquia en la Reja” brings to the forefront a completely different demeanor: a more grandiose intimacy prevails with a display of lyrical pronouncements. Mlle Hu emphasizes an actively emotional dialogue: while (at times) immensely private, it also brings forth moments of vocal outbursts which seem to glowingly contradict with aplomb. What occurs is a highly privatized and secret disclosure.
“Pulsating determination” can best describe “El Fandango del Candil.” Though a tad jarring, Charlotte Hu is conversant and open to a dichotomous unveiling, swelling about with endless moments of semi-capricious cerebral thought. This articulation is nicely pocketed by contrasting emotions.
Serving the back side of “Candil” the ensuing “Quejas” has its own set of circumstantial mini-drama. How Charlotte Hu commands her Steinway grand piano generates a rather unusual energy. This interpretation is like a “moving commentary”, a polite metamorphosis from “yearning” to “lofty beauty.”
“Balada” possesses a deepened, grave draw with a concert-driven dramatization. Granados’ emotionally melodramatic swells are securely tenured within Charlotte Hu. There also appears a deeply pensive sentiment wrapped inside as the themes of “love” and “death” which are keenly peeled back with a polite, yet roughened resolve.
The closing arguments inside “Epílogo” flitter about within uncanny uncertainty. Phantom-driven, the apparitional boundaries are often confused and blurred. Discerning the quixotic energies have great appeal, though Mlle Hu is well-grounded in her focus and the auras of puzzling ambiguities.
In closing arguments, Charlotte Hu selects two of the pieces from Doce Danzas espanolas. Guided in C minor, “Oriental” (less frequently performed) has firm placements of sobriety and distant contemplations. Contrastingly, the more recognizable selection, “Andaluza,” brings forth a majestic flair of capricious embraces that nicely fluctuate with contrasting swells of crescendos and decrescendos. Pulsating between major and minor chords, the passage mildly mesmerizes.
What Enrique Granados cleanly states in his quotation is well‑guided in colorful dimension by Charlotte Hu and her pianistic artistry.
Wonderful interpretative qualities.
Christie Grimstad
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