Enter IberArtists New York
Pedro Carboné, pianist
Hailed as “one of the best Spanish pianists of our time” (Ritmo, Madrid), Pedro Carboné is heir to the finest Spanish musical tradition, passed on to him by his first teachers Pilar Bayona and María Canals. His interpretation of Albéniz’s Suite Iberia has been praised as “magnificent, impressive, with the right touch of expression” (ABC, Madrid) and his rendition of Falla’s Fantasia Baetica is considered a revelation by Spanish music lovers. Mr. Carboné has given a new meaning to the music of neglected 20th-century Spanish composer Oscar Esplá, whose piano works he recorded for Marco Polo receiving rave reviews by Fanfare and the American Record Guide. He has taken Esplá’s music as far as mainland China and performed his masterpiece Sonata del Sur with the Brandenburgisches Staatsorchester Frankfurt and the “George Enescu” Philharmonic of Bucharest, marking the first time this piano concerto is heard outside of Spain in fifty years.

Pedro Carboné first came into the spotlight when at age nineteen he performed Chopin’s Twenty-Four Etudes at the Palau de la Música in Barcelona. His recording of those works for RCA garnered excellent notices, placing it among the best ever made (Harmonie-Opéra, Paris). The Washington Post called him “a major artist” after his Kennedy Center debut and he has since performed throughout the U.S. to critical and audience acclaim, and has been featured live repeatedly on National Public Radio’s nationwide broadcasts. In New York City he has performed at Weill Recital Hall at Carnegie Hall, BAM’s Opera House, Miller Theatre and Merkin Hall and as soloist with the Brooklyn Philharmonic, the American Composers Orchestra and the Perspectives Ensemble.

In his early twenties, Pedro Carboné was a pupil of the late Eugene Istomin. He also studied in the U.S. with Leon Fleisher and in Switzerland with Jean-Bernard Pommier. A remarkable pedagogue himself, Mr. Carboné gives Master classes every summer at the International Keyboard Festival at Mannes College of Music in New York and has been invited on several occasions to perform at the Juilliard School of Music as an authority on the Spanish piano repertoire.



“Pedro Carboné not only brings to Albéniz's Iberia the authority of an artist who has lived with this monumental score for many years; he has a probing vision of what this music is about and how it should sound. He feasts on the complexity of texture, savoring the density of pages other pianists gloss over. His Iberia is actually unique.”

Joseph Horowitz
Music author and contributor to The New York Times - December, 2003


“Pedro Carboné’s exuberant performance of the Fantasia Baetica Sunday evening at the National Gallery of Art could hardly have been better . . . The program opened with Schumann’s Arabesque. Carboné swirled its counter-currents with a refined touch and unforced spontaneity, bending tempos pliantly and singing melodies without the artifice of overt interpretation . . . Carboné played [Beethoven’s Waldstein Sonata] with rhythmic vitality and a relentless, surging energy that kept the music hurtling inevitably forward.”

Ronald Brown
The Washington Post - May, 2000


“Why is Carboné’s performance of Chopin so commendable? First, he makes no concession to sentimentality. Second, he is not experimental or anti-romantic like many other young pianists trying to take a shortcut to stardom. Third, his technique is more than adequate to fulfill his potential.”

Pedro González Mira
Guía del Ocio de Madrid - September, 1999


“The performances [of Espla’s music] from pianist Pedro Carboné are extremely fine. His Spanish roots bring a very idiomatic atmosphere to the music, while technically he has all the equipment for the more demanding sections. He also has that ability to give the shortest pieces a significant substance.”

David Denton
Fanfare Magazine U.S.A. - January, 1999

Enter IberArtists New York