Enrique Granados (1867-1916)
Goyescas Op.11 (1909-11)
El Pelele (1914)
Dina Stojilković (piano)
rec. 2023, Großer Konzertsaal, Abtei Marienmünster, Germany
cpo 555 677-2 [53]

The Goyescas of Granados, along with the Iberia of Albeniz and some pieces by Falla, are the peak of twentieth century Spanish piano music. They are also, along with the short opera he made from the work, Granados’ best work, as he himself acknowledged, saying ‘Finally I have had the good fortune to write something important.’ Although inspired by the paintings of Goya, only El Amor y la Muerte (Love and Death) in the suite is associated with a specific painting, though the associated work El Pelele (The Straw Man), included here, is indeed based on another Goya painting.

The six pieces, and El Pelele, are tone poems for the piano. They have themes with typically Spanish inflections, but these are developed in a virtuoso manner with writing of Lisztian elaboration. Granados was himself an extremely fine pianist and the pieces are technically very challenging. In each of them the themes alternate and return and but in complex settings which hardly ever repeat exactly. Granados is fond of sudden changes of volume or mood, of embedding his themes in a texture which plays above and around it in elaborate passages marked pianissimo as well as sudden but short barnstorming passages. The pianist needs extreme dexterity and a lively sense of rhythm but also a sensitive feeling for the melodies, for, although Granados provides very frequent markings of tempo and volume, there is an obvious need for rubato and a feeling of freedom.

For many years the acknowledged chief exponent of these works was the Spanish pianist the late Alicia de Larrocha, who first put this repertoire on the map internationally. She recorded Goyescas four times: an early version originally on Hispavox, later taken over by EMI and then by Warner, two for Decca, one analogue and one digital, and a final one for RCA. The earlier versions tend to be more fiery and free, the later ones more controlled and subtle, but there is not much in it. I think it is best to regard her recordings as hors concours: everyone who cares for this repertoire should have one of her versions, and the issue is now to consider whether any new version offers a worthwhile alternative view.

This is certainly what the Serbian pianist Dina Stojilković offers in this, her debut recording. She has won prizes, studied with some of the best pianists and, moreover, written a Master’s dissertation on these works. She understands them profoundly and she has the technique to realise her vision of them. In the opening Los Requiebros (The Compliments) listen to how delicately she floats the theme over the triplet accompanying figures often in the same hand, and the rhythmic poise of the climaxes, with the theme often divided between the two hands in a way which requires three staves to notate. In Coloquio en la Reja (Conversation at the Window), a much gentler piece, she always manages to make the theme sing out despite the fantastically ornate accompanying figures, which often involve both hands. El Fandango de Candil (Fandango by Candlelight) brought a surprise: Stojilković takes this rather faster than usual, relinquishing weight for drive. I did wonder how she would fare when the accompanying figure went first to triplets and then to demisemiquavers, but she keeps up the momentum in a fine display of poise and control.

Quejas o la Maja y el Ruiseñor (Laments or The Maiden and the Nightingale) is the best-known piece in the suite, It is dreamy and rhapsodic with the direction con molta fantasia among the many indications to modify the tempo. Much of it is also marked pp, which is not so easy when there are rapid octave passages. The actual song of the nightingale appears near the end, making me think of Messiaen’s bird song passages.  El Amor y la Muerte (Love and Death) is, in contrast, marked animato e dramatico, which it certainly is here. There is an Adagio section in the middle, but it is not really that slow. The final Epilogo: Serenata del espectro (Epilogue: Serenade of the Spectre) starts by establishing a staccato triplet rhythm over which various themes play out in increasing elaboration, with a big climax just before the end.

It has become customary to follow the six pieces of Goyescas proper with El Pelele, subtitled Escena Goyesca (Goya scene), and very much in the spirit of the suite. This is a brilliant display piece which brings the recital to a rousing conclusion. (There are actually several other Goya-associated piano pieces, some of which can be found on José Menor’s recording of Goyescas (review), and all on that by Alex Alguacil.)

I greatly enjoyed Dina Stojilković’s playing. For a start she has all the considerable technique required. Then she has fire and passion. She does not treat these works just as display pieces but notices the many quiet passages. She can bring out a singing line, however complex the figuration around it. This is a most auspicious debut, and I hope to hear her again, particularly in Spanish music. Perhaps she would care to add Albeniz’s Iberia to her repertoire.  The recording is good and the notes helpful. This is a marvellous disc.

Stephen Barber

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