Ángel Sanzo is an internationally renowned Spanish pianist, who has become a regular name at concert halls and festivals around Europe, and recorded music with RTVE, RTSI, RBB, RTBF, RAI and RNM. He has given concerts in Austria, Germany, Italy, France, Belgium, Switzerland and Portugal, in prestigious concert halls including Madrid’s Teatro Monumental, the Berlin Konzerthaus, the Tonhalle in Dusseldorf, the Laeiszhalle in Hamburg, Granada’s Manuel de Falla Auditorium, Valencia’s Palau de la Música, the Salzburg Mozarteum, the Flagey studios in Brussels, and the Palacio de la Bolsa in Porto. Sanzo has also played as a soloist with many orchestras, under the direction of Adrian Leaper, Enrique García Asensio, Max Bragado, Xavier Puig, Michael Thomas, Domenico Longo and Miquel Ortega.


Sanzo completed his piano studies at the Conservatorio Superior in Málaga under José Felipe Díaz, for which he was awarded the End of Degree Prize of Honour. He went on to work with celebrated masters such as Joaquín Soriano, Javier Herreros, Peter Bithell, Ferenc Rados and Alicia de Larrocha.


He has won numerous awards and recognition, including 1st prize in the Joaquín Rodrigo International Competition, the Frechilla-Zuloaga Piano Competition, the Taranto European Piano Competition, 1st prize in the Moroccan Princess Lalla Meryem International Competition, 2nd prize in Valencia’s José Iturbi Piano Competition, and a unanimous medal at Barcelona’s María Canals International Piano Competition.


Sanzo has been described as a pianist of exceptional talent and technique by international critics. He began his career in 1995, after his debut of Beethoven’s 3rd Piano Concert with Málaga’s Symphony Orchestra was enthusiastically received by audiences and critics. Sanzo’s expressiveness and technical precision give him a unique musical character that enables him to pay tribute to all piano music, as can be seen from his numerous acknowledgements for interpretations of Spanish music and Frederic Chopin’s work. His comprehensive repertoire of chamber music has taken him all over Europe with other prestigious musicians such as Shirly Laub, Benjamin Dieltjens, Tai Murray and Ángel Luís Quintana.


Sanzo teaches at the Badajoz Conservatorio Superior de Música, where he has become one of the most requested tutors by Spain’s universities and conservatories, and where he tutors frequent masterclasses and courses for perfecting technique. In April 2013 he was invited to give a masterclass at Chile’s Catholic University of Santiago, and in the autumn of 2014 he will be recording the complete Isaac Albéniz’s Iberia suite for the eaSonus record label (www.easonus.com)




The most complex work by Spanish composer Isaac Albéniz will be recorded for the Berlin-based label eaSonus.

In the words of Olivier Messiaen, the Suite Iberia ‘is the wonder of the piano, and it occupies a place, perhaps the most remarkable, among the most illustrious stars of the king of instruments par excellence’. It is interesting to note in the French composer’s remark that terms such as ‘nationalism’ or ‘Spanish music’ do not enter his vocabulary; and that is what happens when we are faced with a masterpiece that is above all labels, universal. Iberia is the heir to the virtuosity of the second half of the nineteenth century, disseminated by Liszt, who, having taken piano technique to its maximum potential, found a continuator in Isaac Albéniz (1860-1909). The latter, working entirely without precedents in the Spanish piano literature, produced a complex and masterly compendium for the instrument that proved to be the highest degree of expression of the piano music of his country. Albéniz was a pianist of extraordinary gifts who, having been trained in the Romantic tradition, turned to the folklore of his homeland, not to make it a cause in itself, but as the starting point for his composition. Musical nationalism is simply the ultimate expression of Romanticism, a movement that asserted its supremacy for more than half a century, and found its final manifestation in the sentiments of a people living through the political consequences of increasing domination and oppression in the world. This explains how, within a single nation, Albéniz, Granados and Falla, exhibit quite different poetic universes, producing masterworks very close to each other in terms of date, but in divergent pianistic idioms. National aspirations do not lead anywhere unless there is talent to back them up.

© Carmen Delia Romero

Translation: Charles Johnston


Photo Credit: Anastasia Chernyavsky