Jean-Francois Dichamp, Esteban Sánchez, Sebastian Stanley - Explorer Set: Spanish Edition (2026)

Tracklist

01. Goyescas: I. los requiebros - The Compliments
02. Goyescas: II. Coloquio en la Reja - Conversation at the Window
03. Sonata in E-Flat Major, K.193
04. Goyescas: III. el Fandango de Candil - Fandango by Candlelight
05. Sonata in D Minor, K.141
06. Sonata No. 21 in C-Sharp Minor
07. Goyescas: IV. Quejas, o la maja y el ruiseñor - Complaint, or the Girl and the Nightingale
08. Sonata in F-Sharp Minor, K.25
09. Goyescas: V. el Amor y la muerte - Ballad of Love and Death
10. Sonata in G Minor, K.8
11. Goyescas: VI. Epílogo. Serenata del espectro - Epilogue. Serenade to a Spectre
12. Sonata in E Minor, K.198
13. Iberia, Cahier 1: Evocación
14. Iberia, Cahier 1: El Puerto
15. Iberia, Cahier 1: Corpus Christi en Sevilla
16. Iberia, Cahier 2: Rondena
17. Iberia, Cahier 2: Almería
18. Iberia, Cahier 2: Triana
19. Iberia, Cahier 3: El Albaicín
20. Iberia, Cahier 3: El Polo
21. Iberia, Cahier 3: Lavapiés
22. Iberia, Cahier 4: Málaga
23. Iberia, Cahier 4: Jerez
24. Iberia, Cahier 4: Eritana
25. Suite Española No. 1, Op. 47: I. Granada
26. Suite Española No. 1, Op. 47: II. Cataluña
27. Suite Española No. 1, Op. 47: III. Sevilla
28. Suite Española No. 1, Op. 47: IV. Cadiz
29. Suite Española No. 1, Op. 47: V. Asturias
30. Suite Española No. 1, Op. 47: VI. Aragon
31. Suite Española No. 1, Op. 47: VII. Castilla
32. Suite Española No. 1, Op. 47: IX. Cuba
33. Suite Española No. 2, Op. 97: I. Zaragoza
34. Suite Española No. 2, Op. 97: II. Sevilla
35. Suite ancienne No. 3: I. Minuetto
36. Suite ancienne No. 3: II. Gavota
37. Zambra granadina (Danse Orientale)
38. Cadiz (Gaditana)
39. Sevilla. Suite pintoresca, Op. 2: I. Bajo los naranjos (Beneath the Orange Trees)
40. Sevilla. Suite pintoresca, Op. 2: II. el jueves santo a medianoche (Maundy Thursday at Midnight)
41. Sevilla. Suite pintoresca, Op. 2: III. la feria (The Fair)
42. 5 Danzas gitanas, Op. 55: I. Zambra
43. 5 Danzas gitanas, Op. 55: II. Danza de la seducción (Dance of Seduction)
44. 5 Danzas gitanas, Op. 55: III. Danza ritual (Ritual Dance)
45. 5 Danzas gitanas, Op. 55: IV. Generalife
46. 5 Danzas gitanas, Op. 55: V. Sacro-Monte
47. Danzas fantásticas, Op. 22: I. Exaltación (Exaltation)
48. Danzas fantásticas, Op. 22: II. Ensueño (Fantasy)
49. Danzas fantásticas, Op. 22: III. Orgía (Orgy)
50. I Cuaderno: I. en el parque de María Luisa
51. I Cuaderno: II. Macarena
52. I Cuaderno: III. en la alameda de Hércules
53. II Cuaderno: I. Alhambra
54. II Cuaderno: II. el barrio de la viña
55. II Cuaderno: III. Perchel
56. III Cuaderno: I. en la mezquita
57. III Cuaderno: II. en un patio sevillano
58. III Cuaderno: III. en los toros
59. El Sombrero de tres Picos: I. Danza del Molinero
60. El Sombrero de tres Picos: II. Danza de la Molinera
61. El Sombrero de tres Picos: III. Danza de los Vecinos
62. Danza de la Vida Breve
63. Homenaje de Claude Debussy
64. Serenata
65. Mazurka
66. Serenata Andaluza
67. Nocturno
68. Cancion
69. Fantasia Baetica
70. Cuatro Piezas Españolas: I. Aragonesa
71. Cuatro Piezas Españolas: II. Cubana
72. Cuatro Piezas Españolas: III. Montanesa
73. Cuatro Piezas Españolas: IV. Andaluza
74. El Amor Brujo: Ritual Fire Dance
75. Cortejo de Gnomos
76. Vals Capricho
77. Allegro de Concierto
78. Canto de los Remeros del Volga
79. Pour le tombeau de Paul Dukas
80. Primer cuaderno: I. Angelico
81. Primer cuaderno: II. Lent
82. Primer Cuaderno: III. Placide
83. Primer cuaderno: IV. A­ itto e penoso
84. Primer cuaderno: V. —
85. Primer cuaderno: Vi. Lento
86. Primer Cuaderno: VII. Lento
87. Primer cuaderno: VIII. Semplice
88. Primer cuaderno: IX. Lento
89. Segundo cuaderno: X. Lento-Cantabile
90. Segundo cuaderno: XI. Allegretto
91. Segundo cuaderno: XII. Lento
92. Segundo cuaderno: XIII. Tranquilo-Très calme
93. Segundo cuaderno: XIV. Severo-Sérieux
94. Segundo Cuaderno: XV. Lento-Plaintif
95. Segundo cuaderno: XVI. Calme
96. Tercer cuaderno: XVII. Lento
97. Tercer cuaderno: XVIII. Luminoso
98. Tercer cuaderno: XIX. Tranquillo
99. Tercer cuaderno: XX. Calme
100. Tercer cuaderno: XXI. Lento
101. Cuarto cuaderno: XXII. Molto lento e tranquillo
103. Cuarto cuaderno: XXIV. Moderato
104. Cuarto cuaderno: XXV. —
105. Cuarto cuaderno: XXVI. Lento
106. Cuarto cuaderno: XXVII. Lento molto
107. Cuarto cuaderno: XXVIII. Lento
108. Cançons I Danses: I. —
109. Cançons i danses: II. —
110. Cançons i danses: III. —
111. Cançons i danses: IV. —
112. Cançons i danses: V. —
113. Cançons i danses: Vi. —
114. Cançons i danses: VII. —
115. Cançons i danses: VIII. —
116. Cançons i danses: IX. —
117. Cançons i danses: X. —
118. Cançons i danses: XI. —
119. Cançons i danses: XII. —
120. Canción de cuna
121. Cants màgics: I. Enèrgic
122. Cants màgics: II. Obscur
123. Cants màgics: III. Profond-Lent
124. Cants màgics: IV. Misteriós
125. Cants màgics: V. Calma
126. Paisajes: I. La Fuente y la Campana
127. Paisajes: II. El lage
128. Paisajes: III. Carros de Galicia
129. Sonata No. 1 in D Minor
130. Sonata No. 2 in D Minor
131. Sonata No. 17 in A Minor
132. Sonata No. 3 in B-Flat Major
133. Sonata No. 4 in B-Flat Major
134. Sonata No. 5 in G Minor
135. Sonata No. 6 in G Minor
136. Sonata No. 16 in G Minor
137. Sonata No. 11 in E-Flat Major
138. Sonata No. 12 in E-Flat Major
139. Sonata No. 7 in C Minor
140. Sonata No. 13 in G Major
141. Sonata No. 24 in G Major
142. Sonata No. 9 in E Major



A super-budget introduction to the riches of the Spanish piano repertoire, including many critically acclaimed recordings.
While Domenico Scarlatti was born in Naples, he spent the greater part of his career on the Iberian peninsula, and died in Madrid in 1757 as the composer of 555 keyboard sonatas which would, more than any other single body of work, bring Spanish idioms into the mainstream of European classical music. Many organists and keyboard composers preceded him, but few if any could match his spirit of caprice and restless invention as he fused Hispanic rhythms with the fairly new form of the keyboard sonata.
Thus it is fitting that Scarlatti is the earliest composer on this ‘Spanish Explorer’ box. His music was soon taken up as a model by native composers of subsequent generations, such as Manuel Espona (1714-1779) and Antonio Soler (1729-1783), in writing quirky single-movement sonatas of unpredictably arching melodies and sometimes frenetic developments which evoke the spirit of native dances such as the fandango.
While CD1 of this box is an imaginary ‘opera for piano’, staged by Jean-François Dichamp, the principle could be extended to the box as a whole. Dichamp’s opera is arranged around the pillars of the monumental cycle of Goyescas by Enrique Granados (1867-1916). This cycle, along with the Iberia of Isaac Albéniz (1860-1909), then extended the reach of Spanish piano music and defined its character in a late-Romantic world.
While neither Albeniz nor Granados were modernists by temperament, it is tempting to speculate how they and their music would have developed but for their early deaths in the first years of the last century. Instead the creative flame was passed to Manuel de Falla (1876-1946) and Joaquín Turina (1882-1949) and while de Falla’s original output for piano is relatively vestigial, it includes the astonishing Fantasia Baetica which invites comparison with contemporary piano masterpieces by Bartok and Prokofiev in its new pouring of ‘national’ character into the virtuoso piano tradition.
As the most recent composer in this Spanish Explorer box, Federico Mompou (1893-1987) is also the least definably ‘Spanish’ – not least because he was a Catalan born and bred. The music itself defies close analysis, much like that of his model Erik Satie, and yet its aura of intense contemplation has proved deeply rewarding for countless pianists and listeners alike.

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