Pablo Valotta Mundo Desmedido (2020)

Beethoven's five piano concertos relate, in a sense, part of the composers life: some twenty years during which a young musician from Bonn made several revised versions of the first concerto he wrote (a springboard to Viennese success that ended up being called no.2), before becoming the familiar Emperor of music embodied by the brilliant inspiration of no.5. Two hundred and fifty years after his birth, it is with these two extremes that Kristian Bezuidenhout, Pablo Heras-Casado and the Freiburger Barockorchester have chosen to start an exciting period-instrument trilogy of the concertos that bids fair to be a landmark!

Praised as “the soul of the Spanish guitar,” he has become a worldwide sensation known as this generation’s great guitarist. Pablo Sáinz-Villegas has been acclaimed by the international press as the successor of Andrés Segovia and an ambassador of Spanish culture in the world. His “virtuosic playing characterized by irresistible exuberance” (The New York Times) make him one of the most acclaimed soloists by prestigious conductors, orchestras and festivals.

A new take on a classic reggae sound. The change in music production technology in the 1980s opened doors to new sounds and experiments from producers around the world. In Jamaica, producers who built their name on the live studio sound with a drum and bass foundation either adopted to syndrums or full digital drums by the mid-80s, or they dropped out of the game. Producer and melodica player Augustus Pablo was a prolific survivor from the classic reggae era, and he released four new studio albums through Greensleeves between 1986 and 1990, the critical years when the new sound of reggae was finding its feet.

In their own way Beethoven’s five piano concertos relate a part of their composer’s life. In the previous volume of this complete recording, Kristian Bezuidenhout, Pablo Heras-Casado and the musicians of the Freiburger Barockorchester explored the beginning (Concerto no.2, a springboard to Viennese fame) and the end (the ‘Emperor’) of the story. They now turn to the most personal of all the Beethoven concertos, the Fourth which, at a time when the spectre of total deafness threatened his career, shattered the conventions of the genre - as did such orchestral works as Coriolan and the Overture to The Creatures of Prometheus.