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Classical - Released September 11, 2015 | Academy Productions

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The young Cuban pianist, Marcos Madrigal, brings musical maturity and cultural sympathies to bear on the dazzling music of Ernesto Lecuona. Madrigal's readings offer an opportunity for reevaluation and a new appreciation of this highly original yet neglected Cuban composer's works. It takes the majestic talent of Marcos Madrigal's scrupulous, lapidary interpretations to reveal their inner depth and beauty. These performances are a revelation that no connoisseur of great pianism should miss. © Artalinna/Qobuz
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Solo Piano - Released June 25, 2021 | ARTALINNA

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A multi-faceted array of Prokofiev is Cuban pianist Marcos Madrigal's offering for this second solo recording of his for Artalinna/Academy Productions. First, the Visions fugitives Prokofiev composed between 1915 and 1917 when still in his mid-twenties – fleeting, blink-and-you've-missed-it character pieces, many of whose multifarious moods (not least irony and ambiguity) and styles would reappear in his music over the ensuing decades. Then the Piano Sonata No. 5 in C major, Op. 38/135, heard here in its original 1923 version rather than its more often-performed 1953 revision. Then finally the famous Piano Sonata No. 7 in B-flat major, Op. 83, completed in the early 1940s. Marcos Madrigal has a poetry and delicacy to his voicing, and a flexibility to his tempi, that makes for a very attractive set of Visions fugitives. Actually it's Debussy who springs very clearly to mind with his opening Lentamente, and he brings a lovely bell-like, silvery sonority to No. 2 (Andante)'s upper register chimes, helped by the brightly immediate capturing. If there's one element which comes out slightly less strongly, then it would be Prokofiev's more acerbic side. Then, as the Visions fugitives could be seen as the trailer for the Prokofiev to come, so it is with Madrigal's interpretations. Sonata No. 5 opens highly attractively, with gentle radiance and satisfying clarity of touch, and the work as a whole sees him bring out the music's gentle lyricism and whimsy without ever veering off course into the land of self-indulgence. As for Piano Sonata No. 7, while its first movement comes in at a comparatively expansive 9'13, this isn't so much because Madrigal hasn't given us forwards drive where the score suggests it, but more because he's made the most of the more mystical moments where time really can be made to stand still, constructing a narrative that hooks the listener in, and offsetting a Precipitato final movement that perhaps lacks the sharp, inner tension you hear from Pollini. © Charlotte Gardner/Qobuz
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Classical - Released October 30, 2020 | Piano Classics

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Born in 1984, Marcos Madrigal has been studying and absorbing the piano music of Carlos Guastavino ever since his Havana childhood. This album is the outcome of decades of affection distilled into a single album, which presents a personal but carefully curated journey through over half a century of fluent composition. Born and died in the Argentinian city of Santa Fe, hundreds of kilometres from Buenos Aires, Guastavino (1912-2000) spanned the decades of modernism with all its tumultuous innovation, but his language, like most of his compatriot composers, remained rooted in the 19th century. However, while he refined his talent in both song and the piano miniature to capture a world within the space of a five-minute miniature, his idiom is not burdened by nostalgia or a regret for a lost time. Rather, Guastavino finds ever-ingenious ways to celebrate life in all its richness, and perhaps this positive outlook in his music has helped it to travel far beyond his native land. He explores the sounds of his vast nation – the folksongs, the streets and the forests are all here – without undue reliance on picture-postcard naturalism any more than Spanish masters such as de Falla and Granados. The repertoire ranges from the early and well-known Bailecito (1940) to El Sampedrino from his final decade, via two ten-piece cycles: Diez Cantinelas Argentinas, composed in the 1950s, and Diez Cantos Populares, written in 1974 – all works that reveal Guastavino’s sheer love of melody. Although his writing is never facile in terms of structure or harmony, these technical aspects are always placed in the service of a cantabile upper line that is always distinctive, catchy and clearly influenced by folk song. Marcos Madrigal continues to make Havana the base of a busy international career, having in 2017 established Habana Clásica, a classical music festival in his native city. © Piano Classics
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Classical - Released November 23, 2018 | ARTALINNA

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With this first album by the exciting duet comprising the pianists Marcos Madrigal and Alessandro Stella, the works of Stravinsky, Debussy and Respighi plunge the listener into arrangements of three orchestral scores of the 20th century. A celebration of colour and emotion. © Artalinna
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Classical - Released April 10, 2021 | Rycy Productions

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Classical - Released September 3, 2021 | Extended Place

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