Solatino

Editorial Reviews

All Music Guide - Stephen Eddins
It's a mark of Venezuelan pianist Gabriela Montero's substantial artistic clout that at her request EMI altered its traditional black, white, and red logo, eliminating the red so that its nationalistic and political symbolic significance would stand out in the final red "O" in Solatino on the cover of her 2010 album. This is her fifth album for EMI, but her first to feature Latin American repertoire and to include her own improvisations, for which she has become known as a modern anomaly -- a top-notch improvising virtuoso. In addition to her own pieces, the CD includes music by Ernesto Lecuona Cuba, Alberto Ginastera, and Antonio Estévez Argentina, Ernesto Nazareth ...
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Editorial Reviews

All Music Guide - Stephen Eddins
It's a mark of Venezuelan pianist Gabriela Montero's substantial artistic clout that at her request EMI altered its traditional black, white, and red logo, eliminating the red so that its nationalistic and political symbolic significance would stand out in the final red "O" in Solatino on the cover of her 2010 album. This is her fifth album for EMI, but her first to feature Latin American repertoire and to include her own improvisations, for which she has become known as a modern anomaly -- a top-notch improvising virtuoso. In addition to her own pieces, the CD includes music by Ernesto Lecuona Cuba, Alberto Ginastera, and Antonio Estévez Argentina, Ernesto Nazareth Brazil, Teresa Carreño, and Moisés Moleiro Venezuela. Apart from some sections of Ginastera's "Piano Sonata No. 1," most of the pieces are related to popular dance forms, and Montero plays them with kinetic dynamism. You'd have to be a virtuoso dancer to keep up with fluidity of Montero's tempos, but this is clearly music animated by the joy of bodies in motion. From the frenetic wildness of Lecuona's ."..Y al negra bailaba!" to the sultry languor of his "Malagueña" and "A la Antigua," Montero brings out the music's visceral physicality. Her own improvisations are clearly rooted in the music of her Venezuelan culture, but they are fresh and inventive, not merely imitations of music of another era. An outstanding characteristic of the album is how much fun it is to listen to, and what a blast Montero seems to be having. Even the Ginastera sonata, the piece most frequently programmed on "serious" recitals, sounds explosively spontaneous. EMI's sound is big, but intimate and natural. Highly recommended.
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Product Details

  • Release Date: 1/11/2011
  • Label: Warner Classics
  • EAN: 5099991820129
  • Catalog Number: 18201
  • Sales rank: 81,005

Tracks

Disc 1
  1. 1 La Comparsa, for voice & piano (or orchestra) - Ernesto Lecuona & Stephen Johns (1:58)
  2. 2 Y la negra bailaba - Ernesto Lecuona & Stephen Johns (2:06)
  3. 3 A la Antigua, for piano - Ernesto Lecuona & Stephen Johns (2:14)
  4. 4 Impromptu, for piano - Ernesto Lecuona & Stephen Johns (1:33)
  5. 5 Por Qué Te Vas?, for piano - Ernesto Lecuona & Stephen Johns (2:44)
  6. 6 Suite Española, for piano: No. 4 Gitanerías - Ernesto Lecuona & Stephen Johns (1:43)
  7. 7 Suite Española, for piano: No. 6 Malagueña - Ernesto Lecuona & Stephen Johns (3:57)
  8. 8 Suite Española, for piano: No. 1 Córdoba - Ernesto Lecuona & Stephen Johns (3:28)
  9. 9 American Preludes (12) for piano, Op. 12: No. 10 Pastorale - Alberto Ginastera & Stephen Johns (2:26)
  10. 10 American Preludes (12) for piano, Op. 12: No. 3 Danza criolla - Alberto Ginastera & Stephen Johns (1:28)
  11. 11–14 Piano Sonata No.1, Op. 22 - Alberto Ginastera & Stephen Johns (14:26)
  12. 12 Odeon, Brazilian tango for piano, Op. 146 - Ernesto Nazareth & Stephen Johns (2:11)
  13. 13 Brejeiro, tango for piano - Ernesto Nazareth & Stephen Johns (1:47)
  14. 14 Fon-Fon, tango for piano - Ernesto Nazareth & Stephen Johns (2:14)
  15. 15 Carioca, tango for piano - Ernesto Nazareth & Stephen Johns (4:12)
  16. 16 Joropo, for piano - Moisés Moleiro & Stephen Johns (3:11)
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Album Credits

Performance Credits
Gabriela Montero Primary Artist
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