Περιγραφή
Καλλιτέχνες | |
Martin Jones (Piano) |
Contents
CD1
Cartas de amor No.1, No.2, No.3 & No.4
Valses intimos (Introduction, No.1, No.2, No.3, No.4, No.5, No.6, No.7, No.8 Presto)
Rapsodia aragonesa
Cuentos de la juventud (Dedicatoria, La mendiga, Canción de mayo, Cuento viejo, Viniendo de la fuente, [untitled], Recuerdos de la infancia, El fantasma, La huerfana & Marcha)
Dos impromptus No.1 & No.2
Escenas poéticas I (Berceuse, Eva y Walter, Danza de la rosa)
CD2
Los majos enamorados Part I (Los requiebros, Coloquio en la reja, El fandango de candil, Quejas, o La maja y el ruiseñor)
Libro de horas (En el jardin, El invierno, Al suplicio)
Elisenda
Los majos enamorados Part II (El amor y la muerte, Epílogo, o Serenata del espectro)
CD3
Paisaje
À la cubana, No.1 & No.2
Danzas españolas (Danza Lenta, Sardana)
Marche militaire
Valse de concert
El pelele (Goyesca)
Intermezzo from the opera Goyescas
Capricho español
Carezza Vals
Bocetos (Despertar del Cazador, El hada y el niño, Vals muy lento, La campana de la tarde)
Países soñados
CD4
Escenas poéticas II (Recuerdo de paises lejanos, El angel de los claustro, Canción de Margarita, Sueños del poeta)
Allegro de concierto
Escenas románticaso (I Mazurka – Poco lento con abandono, II Berceuse – Lento, III Lento – con extasis, IV Allegretto, V Allegro appassionato, VI Epílogo – Andantino spianato – con exaltacion poetica)
Seis piezas sobre cantos populares españolas (Preludio, I Añoranza, II Ecos de la parranda, III Vascongada, IV Marcha oriental, V Zambra, VI Zapateado)
CD5
Barcorola
12 danzas españolas (I Galante, II Orientale, III Fandango, IV Villanesca, V Andaluza, VI Rondalla aragonesa, VII Valenciana, VIII Sardan, IX Romántica, X Melancólica, XI Arabesca, XII Bolero)
CD6
Danza caracteristica
Dos Gavotas No.1 & No.2
Mazurka
Moresque y canción arabe (Moresque, Canción arabe)
Oriental, canción, variada, intermedio y final
Seis estudios espresivos en forma de piezas fáciles
(I Tema, Variation I, Variation II, Variation III, Variation IV, Final, II, III El Caminante, IV Pastoral, V La última pavana, VI Maria)
Estudio
Reverie (Improvisation) transcibed by Martin Jones from a Duo-Art Reproducing Piano Roll (Roll No. 5756. First Released May 1916)
“I have composed a collection of Goyescas of great sweep and difficulty. They are the reward of my efforts to arrive. They say I have arrived. I fell in love with Goya’s psychology, with his palette. With him and e Duchess of Alba; with is lady maja, with his models, with his quarrels, his loves, and his flirtations. The white rose of the cheeks, contrasted with the flaxen hair against the black velvet with buttons and loops; those bending bodies of the dancing creatures, hands of mother-of-pearl and of jasmine resting on jet trinkets, they have disturbd me…” Enrique Granados to the pianist Joaquin Malats
In 1909 he began work on the set of piano pieces that would become his most important compositions, the Goyescas. The cartoons and engravings of Francisco de Goya (1746 – 1828) seemed to unlock a rich vein of inspiration which makes the Goyescas such a satisfying listening experience. Partly based on a zarzuela called Les ovillejos that Granados had composed twelve years earlier, the first book of the Goyescas was performed in Barcelona in 1911, and the first complete performance followed a year later in Madrid. The work was an instant success, and Granados was persuaded to use the music of the Goyescas as the basis of a new opera.
