Latest upload on YouTube, always to keep Jorge's name in view

After the commercial success of the Encores record (recorded in March and December 1985 in St Barnabas' Church, Finchley, UK and issued in 1987), Decca had in mind to make another one. 'Jorge liked the plan a lot and we talked often about the repertoire,' says Mattheus Smits. Strauss/Godowsky, Fledermaus Weber/Godowsky, Invitation to the dance Moszkowski, Caprice Espagnol Lecuona, Cuban dances selections The fourth movement)of Carl Maria von Weber's Piano Sonata No. 1 in C m

Just occasionally I might mention another pianist, and this evening Monday 4 May 2026 at the Wigmore Hall in London I heard Swiss Italian Francesco Piemontesi (b.1983 Locarno). He played Schubert's Sonata in G Major D894 followed by Liszt's Années de pèlerinage, première année, Suisse S160. I think it is one of the best piano recitals I’ve heard in 40 years of attending concerts. He also treated us to two encores, one of which was beloved of Jorge Bolet: Chopin/Godowsky, Étud

Jorge Bolet Ambassador Auditorium Recitals 1981/86 coming soon on First Hand Records. 3CD set and streaming on all platforms.

"He knew he had to take the stage, to stride up to that huge instrument and take command. 'Remember,' he'd say, 'it's likely to kick back." Andrei Svetlichny, Boston Globe, September 1982 As ever, I am grateful to Mattheus Smits for providing information to this website. He has alerted my attention to this tribute (edited) to Jorge Bolet's tuner in the USA. A Memorial Died April 12, 1998 • Born February 19, 1957 Andrei Svetlichny, 41 Tuner of Concert Pianos for the Stars By

This list does not include Cuba. See also 1974-84 In El Caribe (12.11.1981), Lamela Geler stated that Jorge visited Santo Domingo (Dominican Republic) in the early 1950s and played in the Teatro Olimpia, under the auspices of Sociedad Pro Arte. Now he gives a second recital in Santo Domingo. She goes on to state: 'Conocido mayormente en Europa y los Estados Unidos, ya que sus incursiones en América Latina han sido escasas, su repertorio está constituido por el total del ma

This list does not include Cuba. See also 1936-58 1974 In late 1974, Jorge was one of the judges on the Concurso Latinoamericano de Piano Teresa Carreño in Caracas, Venezuela. He made a number of concert appearances in Caracas. 1975 17 September 1975 São Paulo, Brazil Recital 19 and 21 September 1975 Teatro Municipal de São Paulo, Brazil Rachmaninoff's Paganini Variations OSESP (Orquestra Sinfônica do Estado de São Paulo) under Gerard Devos ​ 23 September 1975 [?] Rio de Ja

Another contender for Jorge Bolet's best review...

John Crouch, a former Indiana student of JB for 3 years, was interviewed in 1979 (what follows is a mixture of his own words and those of the journalist): 'Bolet is a natural pianist, like a natural athlete. At the peak of what could be called his first career, his manager was scheduling him for 100-120 performances a year, which is one almost every three days. Then, in his mid-50s, Bolet decided to start winding down his performing career and in 1968, accepted a teaching po

Página web: Clicc Bolet ofreció dos conciertos en la gran ciudad turca —antaño Bizancio, más tarde la legendaria Constantinopla y, desde 1930, oficialmente Estambul—. Los recitales tuvieron lugar los días 21 y 23 de junio, a las 21:30, en el Büyük Salonu (Salón Grande) del Centro Cultural Atatürk. El programa incluyó obras de Mendelssohn; la Sonata n.º 23 en fa menor, Op. 57 de Beethoven, conocida como Appassionata; el Prélude, Choral et Fugue de Franck —citado en turco como

Review of 10 May 1979 recital in the Queen Elizabeth Hall, London

¡No lo olvides! Hay una versión más corta de esta página web disponible en español. ¡Haga clic en el enlace! (El orador en el video no es real pero AI) Clases magistrales para BBC Scotland El 27 de febrero de 1983, Jorge interpretó el Concierto para piano n.° 3 de Rachmaninoff en el Usher Hall de Edimburgo, con la BBC Scottish SO y Bryden "Jack" Thomson, un brillante director escocés con una frase ingeniosa. Esto sería transmitido por la televisión de la BBC en el verano de

Jorge Bolet began his major return to the UK in 1977. Edward Greenfield's review is very complimentary. 17 February 1977, Thursday (he was aged 62) Queen Elizabeth Hall, London Haydn, Sonata in E flat (No.52), Telemann/Reger, Liszt 3 Concert Studies, Don Juan Fantasy Jorge was generous with encores. Chopin: Nocturne in F minor, Op.55 No.1, Moszkowski: La Jongleuse, Op.52 No.4, Chopin/Godowsky: Etude in G-flat major, Op.10 No.5 (Study No.7 in G-flat major), Liszt: Valse-Impro

¡No lo olvides! Hay una versión más corta de esta página web disponible en español (aunque todavía está en desarrollo). Por favor, ten en cuenta que no soy hablante nativo de español, así que habrá muchos errores en la traducción. No dudes en enviar correcciones. ¡Haz clic en el enlace! (El orador en el video no es real pero AI)

Recorded in 2019. I've added an audio file (it's too large to upload to a blog post) where a former student speaks about JB and orchestra, and about "retouching" music. LINK (then scroll down to "Liszt Totentanz") Conductor Gary Thor Wedow has led performances with opera companies, orchestras, festivals, and choral organisations throughout North America. Although he has conducted music from many different eras and styles, Wedow specialises in historically-informed performan

My trawl through Jorge Bolet's concerts has clarified a number of issues. It looks as if it was in the mid-1970s that he introduced two new and substantial works to his repertoire. I could have missed earlier mentions but it may be that someone can explain how he came to these two works, especially the Reger which has high rarity value. 29 September 1975 Teatro Coliseo, Buenos Aires (Argentina) incl.Chopin's Sonata No. 3 in B minor Op.58 and the Mozart/Liszt Don Juan Fantas

The Mail & Globe, Toronto (April 1975) 17 April 1975; Eaton Auditorium, Toronto, Canada. [JB's Toronto recital début] Mendelssohn, Chopin, Sonata No.3, Liszt Petrarch + Tannhäuser 'When you consider, he's been playing professionally for more than 40 years, he seems to have taken his time getting up here. But then, as he says "I've been a long time arriving everywhere."'

Michael Steinberg wrote a long and considered review in The Boston Globe (4.8.1974) of Jorge Bolet's Carnegie Hall recording whoch RCA issued in August 1974 Carl Michael Alfred Steinberg (4 October 1928 – 26 July 2009) was an American music critic and author who specialised in classical music. He was best known, according to San Francisco Chronicle music critic Joshua Kosman, for "the illuminating, witty and often deeply personal notes he wrote for the San Francisco Sympho

In noting down that Jorge Bolet gave summer masterclasses at Indiana during 17-21 June, 1974, I recalled a witty remark from the transcript of one masterclass - not necessarily at Indiana - where he emphasised that the melody must always be brought out (something he always demonstrated in his own playing). He said something like: "I have given hundreds of concerts, and I've never known anyone to pay the price of admission to hear an Alberti bass."

Jorge never was a man for reading many books but, for sure, he knew which books to read. Mark Twain's 'Letters from earth' (which JB once recommended to a journalist) is certainly one of them. Jorge usualy read many magazines when on tour. These were mostly about cars, photography and cameras. He went crazy when in the USA the Canon A1 came out. As he knew that I also loved photography, he bought one for me as in Europe the A1 was not yet on the market. Mattheus Smits The Ca