ALICIA DE LARROCHA - THE UNRELEASED BERLIN STUDIO RECORDINGS 1968 • 1970 - DOUBLE VINYLE

DOUBLE VINYLE

ALICIA DE LARROCHA

THE UNRELEASED BERLIN STUDIO RECORDINGS 1968 • 1970

1ère édition limitée à 3000 exemplaires

68,00€

Delivered from 11/04/25

RECORD 1

Antonio Soler: Sonata in D minor, R. 24*

Antonio Soler: Sonata in F major, R. 89*

Enrique Granados: El Pelele, IEG. 22

Carlos Suriñach: Canciones y Danzas, No. 3

Enrique Granados: El Fandango de Candil, "Goyescas" Op. 11, No. 3

Enrique Granados: Quejas o la Maja y el Ruiseñor, "Goyescas" Op. 11, , No. 4

Enrique Granados: Los Requiebros, "Goyescas" Op. 11, No. 1*

RECORD 2

Federico Mompou: Canciones y Danzas No. 4
Federico Mompou: Canciones y Danzas No. 5

Federico Mompou: Canciones y Danzas No. 6

Isaac Albéniz: Corpus Christi en Sevilla, "Iberia", Book I, No. 3

Isaac Albéniz: Triana, "Iberia", Book II, No. 3*
Isaac Albéniz: El Albaicín, "Iberia", Book III, No. 1*

Isaac Albéniz: Lavapiés, "Iberia", Book III, No. 3

Francis Poulenc: Toccata*

3000 Copies

The Spanish Queen (of the Piano)

She had small, square hands. She was 1.52 m tall. As a child, she banged her head on the floor to be allowed to play the piano. She was Catalan. She was a pianist—one of the greatest. Her mission? To spread the Spanish repertoire. Her name was Alicia de Larrocha.

When she passed away in 2009 at age 89, Nelson Freire wrote, "I truly loved her; she was a modest woman, and her playing shone like the sun." Acclaimed worldwide, she stood alongside Victoria de Los Angeles as one of Spain’s finest artists.

Larrocha’s journey began at three, seated at a piano. At four, she studied under Frank Marshall, a student of Granados. By six, she was performing publicly; by eleven, she played Mozart’s Coronation Concerto with Madrid’s Symphony Orchestra, astonishing audiences. Despite her small hands, she developed an airy, precise touch, even daring to record Rachmaninov’s Third Concerto. But beyond technical mastery, her playing held a profound sense of life and imagination.

Though trained in Bach, Mozart, and Chopin, Larrocha fought to bring Spanish composers to global audiences. Albéniz and Granados owe much of their fame to her. Her international breakthrough came in the 1950s when an American impresario heard her Spanish recordings and invited her to the U.S., where she triumphed.

Her performances honored Spain’s musical heritage. From Soler’s sonatas to Granados' Goyescas, she infused each note with nuance. She brought Goya’s paintings to life in El Pelele and mastered the dark contrasts of Surinach’s Canción y Danza. Albéniz’s Iberia demanded both power and delicacy—qualities she commanded effortlessly.

Her final tribute was to her friend Francis Poulenc, performing his Toccata—a soaring farewell.

As one admirer put it in 1982, "She walked toward a piano too big for her, sat, placed her hands on the keys… and became the queen."

Alicia De Larrocha, Piano

Recorded at the Saal III, RBB, Berlin

On 22.IV.1968 *

On 12.III.1970

Ref.: TLR-2503057V

33rpm Lacquer-cuts: Kevin Gray

STEREO ℗ 1968 RBB

*STEREO ℗ 1970 RBB

AN UNEQUALLED KNOW-HOW

- Phoenix Mastering™ restoration from original analog tapes
- Lacquer-Cuts by Kevin Gray
- 180g test-pressings approving in our studios
- New Stampers every 500 copies
- Slow pressing cycle
- Unequalled quality control in Europe
- New Tip-on gatefold printed in Italy
- Pressed by Simon Garcia, in France 🇫🇷

DELIVERY & WARRANTY

We ship our products worldwide with the utmost care. In the event of any damage during transport, we undertake to replace, at our exclusive expense, any products.

Returns are accepted within 14 days of receipt of your order, however return costs are the responsibility of the customer.

DOUBLE VINYLE

ALICIA DE LARROCHA

THE UNRELEASED BERLIN STUDIO RECORDINGS 1968 • 1970

The History of this discovery

"During my studies at the Gnessin Music Academy in Moscow, I often heard about Alicia de Larrocha, who came to give masterclasses there. These moments had a profound impact on all the pianists at the academy, who were still talking about them decades later. It is therefore with particular emotion that I discover these unreleased tapes at the Berlin radio archives. I begin by listening to the Goyescas, which are, for me, true masterpieces, still underestimated. I was absolutely transported by the poetry of her playing and the depth of her sound... A true mesmerizing album."

Frédéric D'ORIA-NICOLAS
Musical treasure seeker

Le Journal du Dimanche

“The restorations of The Lost Recordings are worthy of those devoted to master paintings”

"La musique est faite pour être entendue, non pour être vue."