GRANADOS; TURINA Piano Quintets
These are qualities that he applies to haunting effect in the languid, sultry central movement of Granados’s G minor Quintet of 1895, a gentle Allegretto quasi andantino in which the atmosphere, musical ideas and harmonic colouring identify the piece as being indisputably of Spanish origin. Elsewhere, Granados seems to have garnered some of his influence from Grieg, with little evidence that his Parisian musical studies during the 1880s had rubbed off to any great degree. But the Quintet is a score with personality, in which Perianes and the Cuarteto Quiroga create a strong and supple bond of ensemble, finding characterful contrasts in the finale between zestful momentum and the little moments of reflective calm that from time to time halt the flow.
The Quintet is by no means over-represented in the catalogue but some might already have it as part of Martha Argerich and friends’ compilation from Lugano in 2010 (EMI), in which the pianist is Gabriela Montero. This new one, however, is the one to go for if coming to the work for the first time, particularly as it is coupled with an equal rarity, the G minor Piano Trio (1907) by Turina. This is a piece that attests both to its Spanishness and to the debts that Turina owed to French music (Debussy, Ravel) from his years in Paris. Beautifully written, potent in ideas and neatly structured, it fully merits the luminous, animated, sensitive performance that Perianes and the Quiroga give it.