Preludio from Seis hojas de álbum, Op. 165 - I. Albeniz (1860-1909) скачать в хорошем качестве

Preludio from Seis hojas de álbum, Op. 165 - I. Albeniz (1860-1909)

Elsa Li (11 years), pno. During the early 1880s, Albéniz studied composition with Felipe Pedrell (1841-1922) who was considered the founder of modern Spanish musicology. Pedrell was a teacher, composer, musicologist and an ardent nationalist, who was convinced that Spanish composers should compose music rooted in Spanish culture, specifically, its native folk songs and dances. Pedrell spent a lifetime collecting traditional folk songs from all over Spain; his transcriptions of these Spanish folksongs revived an interest in a neglected musical tradition. He was the teacher and spiritual mentor of Albéniz, Enrique Granados and Manuel de Falla and his ideas made a deep impression on Albéniz, who up to this point, had composed almost exclusively in the European salon style of the time. Pedrell’s influence is greatly reflected in the works of both Albeniz and Granados who nevertheless developed along very different compositional pathways; their works, however, initiated a nationalist movement in Spanish music. This period marked a significant increase in Albéniz's compositional output, particularly in the form of charming and distinctive Spanish-style piano pieces that were enthusiastically received by audiences in Spain and beyond. Notable collections from this time include the Suite Española, Hojas de Album and Recuerdos de viaje. Albéniz incorporated numerous elements of Andalusian music into his compositional style, including lively Spanish dance rhythms, cante jondo-type modal melodies for the lyrical sections, coloristic Phrygian inflections; characteristic ornamentation; numerous guitar-like figurations and expressive chromatic Chopinesque harmonies, The formal constructions of these early works is usually limited to an ABA form with little development occurring (which we see in his later Iberia suite) . However, these early collections reveal the initial blossoming of Albéniz's unique creative genius. Seis hojas de álbum Op. 165 Isaac Albéniz composed the set of 6 Hojas de Album (Album Leaves) in 1890. The Preludio is a beautifully evocative opening to the set in which deeply expressive melodic sections with modal Phrygian inflections in the style of improvised cante jonde alternate with guitar -like interjections imitating a punteado or plucked accompaniment. The Tango is probably the most popular composition and has been arranged for many different instruments such as the widely known violin version by Jascha Heifetz. Infused with the lilting rhythms of the habanera, it is languorous in mood and marked Andantino, the music evoking a tango that is sung, rather than danced. The Malagueña is a Flamenco form of song and dance which originated in Malaga and is usually accompanied by a mandolin or guitar. The outer sections contain a strong rhythmic pulse: the energetic introduction imitates the plucking of a guitar followed by the entry of the melody in the bass. Through-out, the music is reminiscent of Spanish castanets and guitar strumming and plucking. The lyrical mid-section is strongly suggestive of cante jondo with its sung phrases and arpeggiated guitar interludes. The Serenata, like Debussy’s La Sérénade Interrompue, alternates an instrumental accompaniment with snippets of amorous song evoking an evening serenade of a love-stricken suitor accompanying himself on the guitar. It begins with an instrumental prelude, 8 bars in length, imitating the punteado (plucked) guitar technique after which the song begins -an expressive melody in G minor marked cantando. Further instrumental guitar episodes are interspersed with fragments of song. The coda brings the serenade to a peaceful close with a little duet between the serenader and his lover with the harmony spiced up in her responses by the chromatic inflections of the Neapolitan chord. © Program notes by Natalia Ricci, 2022