Music in the Time of Goya
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Selected Intermediate-Level Solo Piano Music Of
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2005 Selected intermediate-level solo piano music of Enrique Granados: a pedagogical analysis Harumi Kurihara Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Kurihara, Harumi, "Selected intermediate-level solo piano music of Enrique Granados: a pedagogical analysis" (2005). LSU Doctoral Dissertations. 3242. https://digitalcommons.lsu.edu/gradschool_dissertations/3242 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. SELECTED INTERMEDIATE-LEVEL SOLO PIANO MUSIC OF ENRIQUE GRANADOS: A PEDAGOGICAL ANALYSIS A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirement for the degree of Doctor of Musical Arts in The School of Music by Harumi Kurihara B.M., Loyola University, New Orleans, 1993 M.M.,University of New Orleans, 1997 August, 2005 ACKNOWLEDGMENTS I would like to express my sincere appreciation to my major professor, Professor Victoria Johnson for her expert advice, patience, and commitment to my monograph. Without her help, I would not have been able to complete this monograph. I am also grateful to my committee members, Professors Jennifer Hayghe, Michael Gurt, and Jeffrey Perry for their interest and professional guidance in making this monograph possible. I must also recognize the continued encouragement and support of Professor Constance Carroll who provided me with exceptional piano instruction throughout my doctoral studies. -
Granados: Goyescas
Goyescas Enrique Granados 1. Los Requiebros [9.23] 2. Coloquio en La Reja [10.53] 3. El Fandango de Candil [6.41] 4. Quejas, ó la Maja y el Ruiseñor [6.22] 5. El Amor y la Muerte: Balada [12.43] 6. Epilogo: Serenata del Espectro [7.39] Total Timings [54.00] Ana-Maria Vera piano www.signumrecords.com The Goyescas suite has accompanied me throughout with her during the recording sessions and felt G my life, and I always knew that one day I would generous and grounded like never before. The music attempt to master it.The rich textures and came more easily as my perspectives broadened aspiring harmonies, the unfurling passion and I cared less about perfection. Ironically this is tempered by restraint and unforgiving rhythmic when you stand the best chance of approaching precision, the melancholy offset by ominous, dark your ideals and embracing your audience. humour, the elegance and high drama, the resignation and the hopefulness all speak to my sense of © Ana-Maria Vera, 2008 being a vehicle, offeeling the temperature changes, the ambiguity, and the emotion the way an actor might live the role of a lifetime. And so this particular project has meant more to me than almost any in my career. Catapulted into the limelight as a small child, I performed around the globe for years before realising I had never had a chance to choose a profession for myself. Early success, rather than going to my head, affected my self-confidence as a young adult and I began shying away from interested parties, feeling the attention wasn't deserved and therefore that it must be of the wrong kind. -
3. Goya En Las Literaturas: Otros Textos, Por Leonardo Romero Tobar
GOYA EN LAS LITERATURAS: OTROS TEXTOS Leonardo Romero Tobar Universidad de Zaragoza Resumen: Noticia y crítica de varios relatos y poemas sobre Goya y su obra plástica no tenidos en cuenta en monografías publicadas hasta diciembre de 2017. Palabras clave: Goya tema; textos recientes; novela, relato corto, poesía; varias lenguas. GOYA INSIDE LITERATURES, ANOTHER TEXTS Abstract: Information and critic of novel and poems concerning Goya’s life and his works, texts not included in the monographies published until December 2017. Key words: Goya theme; recents texts; novel, short story, poetry; languages. Contando con las aportaciones de expertos en Goya, singularmente la infor- mación que ofreció Nigel Glendinning en su libro de 1997 1, pude reunir en mi libro de 2016 varios centenares de textos literarios (lírica, teatro, narrativa, ensayo creativo) en los que el pintor y sus obras constituyen el asunto central o tienen una significativa presencia episódica. Goya, desde su propio tiempo histórico, ha sido un inagotable tema para la creación literaria hasta el punto que puede sostenerse que su biografía y su obra constituyen el asunto hispánico de mayor proyección en la literatura universal 2. 1 Goya and his critics fue traducido al español por María Lozano en 1982 y reeditado en 2017 con el añadido de monografías sobre el recordado hispanista redactadas por Valeriano Bozal, Jesusa Vega y Sarah Symmons. 2 Desde sus contemporáneos el tema goyesco se ha integrado en todos los géneros lite- rarios como alusión de pasada y, por supuesto, tanto en textos breves –poemas, relatos cortos, breves apuntes– así como en textos extensos: teatro, novela, libros poéticos y guiones cinematográficos. -
Goya Dans L'historiographie Française, 1842-1900
Goya dans l’historiographie française, 1842-1900 Agnès Gué To cite this version: Agnès Gué. Goya dans l’historiographie française, 1842-1900. Art et histoire de l’art. 2014. dumas- 01217336 HAL Id: dumas-01217336 https://dumas.ccsd.cnrs.fr/dumas-01217336 Submitted on 19 Oct 2015 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed under a Creative Commons Attribution - NonCommercial - NoDerivatives| 4.0 International License ÉCOLE DU LOUVRE Agnès GUÉ Goya dans l’historiographie française 1842 - années1900 Volume I Mémoire de recherche (2nde année de 2ème cycle) en histoire de l'art appliquée aux collections présenté sous la direction de Madame Cristina MARINAS, Maître de Conférences à l’Ecole Polytechnique, Département Langues et Cultures Septembre 2014 1 2 Résumé Si Goya intéresse les critiques et les historiens d’art français du XIXe siècle, il n’est cependant pas considéré comme un artiste de premier plan dans l’histoire de l’art pendant cette période. Pourtant, les travaux français sur Goya à cette époque sont novateurs ; on y trouve ainsi les premiers catalogues de l’œuvre gravé et peint du maître aragonais. Le recueil gravé des Caprices, qui compte parmi l’une des premières œuvre mentionnées de cet artiste, est sans doute aussi la plus connue en France : la découverte de ce recueil marque l’historiographie française sur Goya, dont l’œuvre est parfois réduite à cette série, ce qui fait considérer l’artiste comme le premier graveur espagnol, tandis que sa peinture, mal connue est peu appréciée en général. -
ABSTRACT Title of Dissertation: NATIONAL
ABSTRACT Title of Dissertation: NATIONAL CHARACTER AS EXPRESSED IN PIANO LITERATURE Yong Sook Park, Doctor of Musical Arts, 2005 Dissertation directed by: Bradford Gowen, Professor of Music In the middle of the 19th century, many composers living outside of mainstream musical countries such as Germany and France attempted to establish their own musical identity. A typical way of distinguishing themselves from German, French, and Italian composers was to employ the use of folk elements from their native lands. This resulted in a vast amount of piano literature that was rich in national idioms derived from folk traditions. The repertoire reflected many different national styles and trends. Due to the many beautiful, brilliant, virtuosic, and profound ideas that composers infused into these nationalistic works, they took their rightful place in the standard piano repertoire. Depending on the compositional background or style of the individual composers, folk elements were presented in a wide variety of ways. For example, Bartók recorded many short examples collected from the Hungarian countryside and used these melodies to influence his compositional style. Many composers enhanced and expanded piano technique. Liszt, in his Hungarian Rhapsodies, emphasized rhythmic vitality and virtuosic technique in extracting the essence of Hungarian folk themes. Chopin and Szymanowski also made use of rhythmic figurations in their polonaises and mazurkas, often making use of double-dotted rhythms. Obviously, composers made use of nationalistic elements to add to the piano literature and to expand the technique of the piano. This dissertation comprises three piano recitals presenting works of: Isaac Albeniz, Bela Bartók, Frédéric Chopin, Enrique Granados, Edvard Grieg, Franz Liszt, Frederic Rzewski, Alexander Scriabin, Karol Szymanowski, and Peter Ilich Tchaikovsky. -
A La Cubana: Enrique Granados's Cuban Connection
UC Riverside Diagonal: An Ibero-American Music Review Title A la cubana: Enrique Granados’s Cuban Connection Permalink https://escholarship.org/uc/item/90b4c4cb Journal Diagonal: An Ibero-American Music Review, 2(1) ISSN 2470-4199 Author de la Torre, Ricardo Publication Date 2017 DOI 10.5070/D82135893 License https://creativecommons.org/licenses/by/4.0/ 4.0 Peer reviewed eScholarship.org Powered by the California Digital Library University of California A la cubana: Enrique Granados’s Cuban Connection RICARDO DE LA TORRE Abstract Cuba exerted a particular fascination on several generations of Spanish composers. Enrique Granados, himself of Cuban ancestry, was no exception. Even though he never set foot on the island—unlike his friend Isaac Albéniz—his acquaintance with the music of Cuba became manifest in the piano piece A la cubana, his only work with overt references to that country. This article proposes an examination of A la cubana that accounts for the textural and harmonic characteristics of the second part of the piece as a vehicle for Granados to pay homage to the piano danzas of Cuban composer Ignacio Cervantes. Also discussed are similarities between A la cubana and one of Albéniz’s own piano pieces of Caribbean inspiration as well as the context in which the music of then colonial Cuba interacted with that of Spain during Granados’s youth, paying special attention to the relationship between Havana and Catalonia. Keywords: Granados, Ignacio Cervantes, Havana, Catalonia, Isaac Albéniz, Cuban-Spanish musical relations Resumen Varias generaciones de compositores españoles sintieron una fascinación particular por Cuba. Enrique Granados, de ascendencia cubana, no fue la excepción. -
Clair De Lune
A New Type of Musical Coherence Module 17 of Music: Under the Hood John Hooker Carnegie Mellon University Osher Course August 2017 1 Outline • Nationalism in music • Biography of Claude Debussy • Analysis of Clair de lune 2 Nationalism in Music • Rise of ethic consciousness and nationalism – Late 19th century – Rooted in colonialism and development of the concept of “a culture.” • As described by new field of cultural anthropology. • Whence self-conscious “national culture.” • Remains with us today, for better or worse. 3 Nationalism in Music • Rise of ethic consciousness and nationalism – Led to nationalistic styles in music • During late Romantic era • Often inspired by rejection of “development” • …and rejection of German domination of music scene. 4 Nationalism in Music • Some nationalistic schools – Scandinavian • Edvard Grieg, Norway (1843-1907) • Carl Nielsen, Denmark (1865-1931) • Jan Sibelius, Finland (1865-1957) Nielsen Grieg Sibelius 5 Nationalism in Music • Some nationalistic schools – French • Georges Bizet (1838-1875) • Claude Debussy (1862-1918) • Maurice Ravel (1875-1937) • Camille Saint-Saëns (1835-1921) Ravel 6 Bizet Saint-Saëns Nationalism in Music • Some nationalistic schools – German • Richard Wagner (1838-1875) 7 Nationalism in Music • Some nationalistic schools – Russian • Pyotr Ilyich Tchaikovsky (1840-1893) • The “Russian Five” – Mily Balakirev (1837-1910) They took an – Cesár Cui (1835-1918) oath to avoid – Modest Mussorgsky (1839-1881) Rimsky-Korsakov development – Nikolai Rimsky-Korsakov (1844-1908) in their -
Francisco De Goya. Diplomatario
El «Diplomatario de Francisco de Goya es una edición técnica de 284 testos escritos por el pintor entre 1771 y 1828. más 197 documen tos dirigidos o relativos al mismo en los años 1746 a 1919. Un estudio preliminar indica las vicisitudes del epistolario goyesco, sus ca racterísticas paleográficas, diplomatisticas y grafológicas, reproduce los dibujos insertos por Goya en sus cartas al amigo de la infan cia Martín Zapater y Clavería y ofrece datos pertinentes sobre cada uno de los documen tos que se editan (sinceridad diplomática, de pósito en que se hallan actualmente, edicio nes íntegras o parciales, citas, etc., referidas a 94 obras de bibliografía selecta sobre Goya). Ideada esta edición para uso ulterior de goyistas, los 481 textos editados, distribuidos en dos series (la del «Registro» con textos emanados de Goya y la del «Cartulario» con textos dirigidos o relativos a Goya), llevan numeración correlativa (cifras arábigas o nú meros romanos, según la serie) y en cada documento numeración marginal de renglo nes para fácil y exacta cita. Dos índices, uno del «Registro» y otro del «Cartulario» facilitan la localización de ono- másticos, topónimos y conceptos insertos en los documentos editados. Se añade una sinóp sis cronológica de la vida de Goya, con 408 noticias fidedignas enriquecidas con los da tos consignados en los textos de este «Diplo- matario». Y como novedad se edita un rico léxico de Goya, que reproduce en su auto- grafía unas 3.500 palabras empleadas por el pintor en sus cartas originales. Ángel Canellas López, preparador de esta edición y autor del estudio preliminar, es catedrático de Paleografía y Diplomática en la Universidad de Zaragoza, académico de la Real de Bellas Artes de San Luis de Zarago za y correspondiente de la Real de la Histo ria, y director de la «Institución Fernando el Católico» de la Diputación Provincial de Za ragoza, mecenas de esta edición. -
Filmando La Historia. La Pintura De Goya Como Referente Visual En El Cine Histórico Español
V CONGRESO INTERNACIONAL DE HISTORIA Y CINE: ESCENARIOS DEL CINE HISTÓRICO FILMANDO LA HISTORIA. LA PINTURA DE GOYA COMO REFERENTE VISUAL EN EL CINE HISTÓRICO ESPAÑOL EVA OTERO V ÁZQUEZ Universidad de Santiago de Compostela Resumen Señalar que la herencia pictórica es la fuente principal de la que disponemos a la hora de documentamos visualmente en relación al pasado resulta una obviedad. En el caso de Goya y su época, la obra del pintor es un referente para el cine en múltiples ocasiones y no sólo en aquellas películas que atañen a su vida, sino que otros muchos filmes requieren de las iconografías goyescas como medio de relato de ciertos sucesos históricos, generalmente vinculados a episodios de la Guerra de la Independencia. Este artículo propone un acercamiento a las relaciones entre lo pictórico y lo fílmico, un vinculo tan prolífico que nos permite conocer los rostros de los personajes históricos a través de los retratos, relacionar las imágenes de la Guerra con grabados y lienzos, o adentramos en la sociedad de la época atendiendo a algunas de las obras más conocidas del pintor. Palabras clave: Pintura, Cine, Goya, Gue1Ta de la Independencia Title: FILMING HISTORY. GOYA' S PAINTING AS A VISUAL REFERENCE IN THE SPANISH HISTORICAL CINEMA. Abstract It is obvious noted that the pictorial heritage is the main source available to us when we need to visually document ourselves in relation to tbe past. In the case of Goya and bis era, the painter's work is a reference point for film on multiple occasions and not only in those films concerning bis live, but many other films require the "goyesca's" iconography as a means of account of certain historical events, generally linked to episodes of the Spanish War of In dependen ce. -
Senior Recital Program
The CSB/SJU Music Department Presents the Senior Recital of Reagan Hightower Mezzo Soprano Student of Dr. Marcie Givens Lisa Drontle, Piano Saturday, April 24, 2021 2:00pm Stephen B. Humphrey Auditorium, Saint John’s University Program “An die Musik” Franz Schubert (1797-1828) “Ständchen” Johannes Brahms (1833-1897) “Liebeszauber” Clara Wieck Schumann (1819-1896) “Crépuscule” Jules Massenet (1842-1912) “Notre amour” Gabriel Fauré (1845-1924) *5-minute intermission* “El Majo Timido” Enrique Granados (1867-1916) “Voi che sapete” Wolfgang Amadeus Mozart from le Nozze di Figaro (1756-1791) “Tired” Ralph Vaughn Williams from Four Last Songs (1877-1953) “Silent Noon” Ralph Vaughn Williams (1877-1953) “Let Me Be Your Star” Marc Shaiman from SMASH (b.1959) featuring Emily Booth, mezzo soprano Translations, Texts, and Notes “An die Musik” “To Music” Du holde Kunst, in wieviel grauen Stunden, Beloved art, in how many a bleak hour, Wo mich des Lebens wilder Kreis umstrickt, when I am enmeshed in life’s tumultuous Hast du mein Herz zu warmer Lieb round, entzunden, have you kindled my heart to the warmth of Hast mich in eine bessre Welt entrückt! love, and borne me away to a better world! Oft hat ein Seufzer, deiner Harf entflossen, Ein süsser, heiliger Akkord von dir Often a sigh, escaping from your harp, Den Himmel bessrer Zeiten mir erschlossen, a sweet, celestial chord Du holde Kunst, ich danke dir dafür! has revealed to me a heaven of happier times. Beloved art, for this I thank you! Despite his brief life, Franz Schubert composed over 600 lieder (German Art Song). -
Enrique GRANADOS
GRANADOS Dante – Symphonic Poem La nit del mort • Intermezzo from Goyescas Gemma Coma-Alabert, Mezzo-soprano Jesús Álvarez Carrión, Tenor • Lieder Càmera Barcelona Symphony Orchestra • Pablo González Enrique Granados (1867-1916) Orchestral Works • 2 To mark the centenary of Granados’s death in March however, it acquired a life of its own, and over the years it “Very slowly, with great calm”. However, the initial as well as from the Italian poet’s life and work. He added, 1916, Naxos has joined forces with the Orquestra has been arranged and adapted many times for a wide serenity soon takes on an a certain epic quality, and the “When writing Dante, it wasn’t my intention to mirror The Simfònica de Barcelona i Nacional de Catalunya and range of instrumental combinations. orchestration becomes grandiloquent and bombastic, Divine Comedy line by line, but to give my impression of a Pablo González to make a series of recordings of the A few days after the New York première of Goyescas, within an unmistakably descriptive and sombre ambience, life and a work: the lives of Dante and Beatrice and The composer’s orchestral music. This second volume brings another Granados work also received its first reflecting Granados’s subtitle, “poem of desolation”. Divine Comedy are, for me, one and the same thing.” together a selection of works that vary widely in style and performance, at the city’s Maxine Elliott Theatre, as part Dante is the most ambitious and substantial of the Dante is a large-scale, narrative symphonic poem in two character, from the intense drama of the famous of an evening of dance given by flamenco artist Antonia works on this album. -
GOYA+BUÑUEL. Los Sueños De La Razón
LOS SUEÑOS DE LA RAZÓN Colaboran Organizan GOYA+BUÑUEL. Los sueños de la razón CATÁLOGO EXPOSICIÓN Edita La Fundación Ibercaja y El Gobierno de Aragón desean expresar su Gobierno de Aragón Gobierno de Aragón agradecimiento a las siguientes entidades prestadoras Javier Lambán Montañés Presidente Fundación Bancaria Ibercaja Biblioteca Nacional de España, Madrid María Teresa Pérez Esteban Consejera de Educación, Cultura y Deporte Colección Félix Palacios Remondo, Zaragoza Coordinación Colección Padres Escolapios, Madrid Fundación Bancaria Ibercaja Aixa Álvarez Almazán Colección Real Sociedad Económica Aragonesa de Amigos del País, Zaragoza Honorio Romero Herrero Presidente Diputación de Zaragoza José Luis Rodrigo Escrig Director General Textos Filmoteca Española, Madrid Juan Carlos Sánchez Bielsa Director Obra Social Gonzalo M. Borrás Gualis, José Ignacio Calvo Ruata, Jean-Claude Carrière, Museo de Zaragoza Francisco Javier Lázaro Sebastián, Juan Carlos Lozano, Amparo Martínez Museo Goya. Colección Ibercaja-Museo Camón Aznar, Zaragoza Comisariado Herranz, Jesús Rubio Jiménez, Agustín Sánchez Vidal, Fernando Sanz Museo Lázaro Galdiano, Madrid Ferreruela, Carlos Saura. José Ignacio Calvo Ruata Museo Nacional Centro de Arte Reina Sofía, Madrid © de los textos, sus autores Amparo Martínez Herranz Museo Nacional del Prado, Madrid © de las fotografías, sus autores Museo Thyssen-Bornemisza, Madrid Comité organizador Residencia de Estudiantes, Madrid Traducción Gobierno de Aragón Universidad de Zaragoza, Archivo Histórico Universitario Cillero &