Any listeners who thrill to Iber�a and Goyescas will want to get their hands on Andaluc�a. Cast in nine movements, divided into three parts, it...

Any listeners who thrill to Iber�a and Goyescas will want to get their hands on Andaluc�a. Cast in nine movements, divided into three parts, it paints a vivid portrait in sound of the Spanish region, it's landscapes, it's people, folk-culture and traditions. It is the major piano composition by Manuel Font y de Anta, who was born in the region's capital of Seville on 10 December 1889. He is still well-known in the region thanks to a pair of religiously themed wind-band marches, which are unofficial anthems for the city, particularly during Holy Week. Font y de Anta studied music with his father, the composer Manuel Font Hern�ndez, with the Chapel Masters of the Seville Cathedral Vicente Ripoll�s and Eduardo Torres, and with Joaqu�n Turina. During his early twenties he toured the US as a pianist and conductor before settling in Madrid, where he became known as a composer of popular songs and marches. He died in the city, aged just 46, at the hands of Communist militia in November 1936. Andaluc�a mostly dates from 1913-14, except for two movements composed in 1918 and 1921. The cycle begins with an impressionistic evocation of romantic yearning, en el parque de Maria Luisa, and it's followed by two, briefer, more extrovert pieces. The central Cuaderno begins with Alhambra, an even more sensuous, nocturnal love scene set in the gardens of the palace. A dance movement with a central barcarolle is followed by the cycle's most ambitious and complex piece, Perchel. A sultry evocation of the mosque at Cordoba leads into the poetic masterpiece of Andaluc�a, en un patio sevillano. The cycle concludes with a virtuosic showpiece, en los Toros. The cycle as a whole is a worthy successor to Iber�a and Goyescas. It is championed here by the Italian pianist Riccardo Schwartz, a pupil of Paul Badura-Skoda. This major release will bring his name to an international public.