Salvador Sanchez’s scintillating artistry for the Keyboard Trust

Wednesday 30 June 2021 at 7.00pm

Recorded live at the Blüthner Piano Centre, London Enrique Granados Goyescas: Los Majos Enamorados (1911)
1. Los Requiebros (The Compliments)
2. Coloquio en la Reja (Conversation at the Window)
3. El Fandango de Candil (The Candlelight Fandango)
4. Quejas, o la Maja y el Ruiseñor (Complaints, or the
Maiden and the Nightingale)
5. El Amor y la Muerte (Love and Death)
6. Epílogo: La serenata del Espectro (Ghost’s Serenade)
Enrique Granados El Pelele (1913)
Debussy Bruyères

As Leslie Howard said,at the end of this recital,he was astonished that Salvador had any energy left after such scintillating performances not only of Goyescas but also the energetic El Pelele.We were left clicking our heels and stamping our feet as this hypnotic feast of music wove its seemingly endless web of miriades of notes.Salvador took us by surprise with a magical performance of Debussy’s Bruyères (from Book 2 of his preludes ) which just complimented ,with its serenity and peace,this red hot survey of the colours and emotions of Spain.Let us not forget that it was all allied to the transcendental technique and infallible memory of this young Spanish pianist.It also demonstrated the wonderful depth of sound and rich palette of colours of this magnificent Bluthner Concert Grand piano.

Goyescas, op.11- Los majos enamorados (The Gallants in Love), was written in 1911 and wasm inspired by the work of the Spanish artist Francisco Goya.The piano pieces have not been authoritatively associated with any particular paintings with two exceptions:El amor y la muerte (Love and death) shares its title with one of Goya’s prints from the series called Los caprichos El pelele (The straw man) is one of Goya’s tapestry cartoonsThe piano writing of Goyescas is highly ornamented and extremely difficult to master, requiring both subtle dexterity and great power. Some of them have a strong improvisational feel, the clearest example of this being the fifth piece, called El amor y la muerte (Love and Death). The fourth piece in the series (Quejas, ó la maja y el ruiseñorThe Maiden and the Nightingale) is the best known piece from the suite, it is filled with intricate figuration, inner voices and, near the end, glittering bird-like trills and quicksilver arpeggios.This piano suite was written in two books and Granados himself gave the première of Book I at the Palau de la Musica Catalana in Barcelona on 11 March 1911. He completed Book II in December 1911 and gave its first performance at the Salle Pleyel in Paris on 2 April 1914.El pelele (The Straw Man), subtitled Escena goyesca, is usually programmed as part of the Goyescas suite; Granados gave the première in the Teatre Principal at Terrassa, on 29 March 1914.

Goyescas is also an opera in one act and three tableaux, written in 1915 .Granados composed the opera to a Spanish libretto by Fernando Periquet y Zuaznabar with melodies taken from his 1911 piano suite.Prevented by World War I from being presented at the Paris Opéra the premiere of Goyescas took place on January 28, 1916 at the Metropolitan Opera New York.It was the first opera to be performed there in Spanish and was paired on a double bill with Leoncavallo’s Pagliacci.The success of the Met premiere of Goyescas led indirectly to Granados’s death as he was invited by President Woodrow Wilson to give a piano recital at the White House, causing him to postpone his return to Spain. Granados and his wife lost their lives on March 24, 1916 when their ship, the French steamer Sussex,was torpedoed by a German U-boat in the English Channel.

Read Salvador Sánchez’s insights about his repertoire:
Enrique Granados (1867-1916) was a Spanish composer and pianist, known for being one of the most representative musicians of Spanish Romanticism. Goyescas is well known for being Granados’s most ambitious and influential work.
This piece resonates with me deeply for many reasons. In my opinion, it manages to encapsulate all the different traits that define Spanish culture and history. While Coloquio en la Reja evokes the love and passion of a summer night and makes continuous references to Spanish traditional songs and guitar music, El Fandango de Candil evokes the ancient Arabic past that is so ingrained in Spanish culture. All of this while grabbing direct inspiration from one of Spain’s most important artists of all time: Francisco Goya.
Goyescas is the melting point of all of Spain’s most important and recognisable artistic and cultural traits; traits that are ingrained in Spanish history and that have never been represented better than in Goyescas.” Salvador Sánchez

Salvador Sánchez was born in Elche, Spain in 2000.Salvador started playing piano at the age of 9. At the age of 12 he started his studies in his hometown conservatoire where he had piano lessons for four years with Pedro Vera.At the same time, he was having lessons with Pablo Gómez-Ábalos and international soloist Sue-hee Myong.In 2016, he started his piano and composition studies in St. Mary´s Music School in Edinburgh with Ms. Margaret Wakeford and Mr. T. Wilson, where he spent 3 years.Salvador has been awarded several prices in competitions throughout his career in both of his two main areas, piano and composition. In 2014, he was awarded with the Second Prize at the “XXVII National Piano Competition in Toledo”. In 2016 he was awarded the “Isobel Dunlop Composition Prize” for his String Quartet “Black Rhapsody”. In 2017 he won the “St. Mary’s Music School, Director’s Recital Prize” which is the most prestigious prize within the school. Finally, in 2019 he was awarded the first price in the “Edinburgh Competition Festival, Concerto Class” performing Ravel’s G major Piano Concerto in the Queen’s Hall in Edinburgh.Not only that, Salvador has performed as a soloist in numerous occasions in different venues around Spain and the United Kingdom, in many cases performing a full programmed concert just by himself.At the moment, Salvador is studying piano and composition in the Royal College of Music in London, with professors Mr. Danny Driver and Ms. Alison Kay.

This recital is immediately followed by an interview with Keyboard Trust Co-Artistic Director, Dr Leslie Howard, about Salvador’s life and choice of music.

The Keyboard Trust is entirely dependent on donations from our friends for its work in supporting outstandingly talented young musicians and so we’d be especially grateful to you for your support of this venture.Please feel free to make a donation via this website.!/DonationDetails

Any contributions will go towards creating new performing opportunities for these remarkable young musicians at the start of their careers,

Thank you and best wishes from The Keyboard TrustKeyboard Charitable Trust for Young Professional Performers
30th Anniversary Year
Patron: Sir Antonio Pappano

Here is your free link to watch the concert, which comes from the Blüthner Piano Centre, London:

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