In the player’s own words, this is not a dialectical CD. That is, it is not conceived against someone. Instead, it is devotional, votive, a hymn of sorts, or better, a sonorous love letter to the great Haydn, to what he represents for me in music and in life, and to what it means to intertwine myself with him, to blend with him and with his scores. This album does not pretend to be the “last word” in Haydn scholarship or performance, or something that breaks “new interpretative ground”, or something pretending to discover the musical Mediterranean, or to present a “Haydn” purified of ideological “crusts”, “accretions”, “stylistic prejudices”, or of the much-feared “ghost” of “subjectivity”. The controversy is served...

Josu de Solaun as a First Prize winner of the XIII George Enescu International Piano Competition in Bucharest, the XV José Iturbi International Piano Competition and the First European Union Piano Competition, held in Prague, Spanish pianist Josu De Solaun has been invited to perform in distinguished concert series throughout the world, having made notable appearances in Bucharest (Romanian Athenaeum), Venice (Teatro La Fenice), Saint Petersburg (Mariinsky Theatre), Washington, DC (Kennedy Center), New York (Carnegie Hall, Metropolitan Opera), London (Southbank Centre), Paris (Salle Cortot), Taipei (Novel Hall), Mexico City (Sala Silvestre Revueltas), and all major cities of Spain. He has played as concerto soloist with such orchestras such as the Mariinsky Theatre Orchestra of Saint Petersburg, Orchestra Filarmonica la Fenice of Venice, George Enescu Philharmonic of Bucharest, Orquesta Sinfónica de Bilbao, Orquesta de Valencia, Rudolf Barshai Moscow Chamber Orchestra, Mexico City Philharmonic Orchestra, Orchestra RTVE, among many others.