150Th Anniversary of Enrique Granados

Total Page：16

File Type：pdf, Size：1020Kb

MUSIC 150th anniversary of Enrique SAN JUAN, PR Granados Sun, December 03, 2017 4:00 pm Venue Teatro Bertita y Guillermo L. Martínez, Sala Jesús María Sanromá, Conservatorio de Música de Puerto Rico, 951 Ave. Ponce de León, San Juan, 00907 Puerto Rico View map Admission Free More information Puerto Rico Conservatory of Music Credits Acclaimed Spanish pianist Antonio Ortiz takes part in a Presented by Puerto Rico concert to commemorate the 150th anniversary of the birth of Conservatory of Music and the Consulate of Spain in San Juan de Spanish composer Enrique Granados. Puerto Rico Puerto Rico Conservatory joins the Consulate of Spain in San Juan de Puerto Rico to pay homage to Enrique Granados, with Spanish pianist Antonio Ortiz alongside the Puerto Rico Conservatory of Music Orchestra. Born Malaga, Antonio Ortiz is regularly invited to perform at most relevant Spanish Festivals (Granada, Santander, Mallorca, Córdoba, Lucena, Gijón…) and at main Spanish Music Halls (National Auditorium & Teatro Real, Madrid; Grand Teatro Liceu & Palau, Barcelona; Palau de Les Arts, Valencia). His recent appearance at the well known Scherzo Piano Series in Madrid, at the Teatro de la Zarzuela was eceived with great acclaim. He often plays with the major orchestras in Spain, and has collaborated with conductors such as James Judd, Aldo Ceccato, Bruno Aprea, Fusao Kajima, Darrel Ang, Francisco de Gálvez, Pablo Mielgo and Blanca Trabalón. He has made several recordings for Spanish National Radio and Television, Catalunya Radio, and he recently published a CD containing works by Debussy, Ravel, Albéniz, Bártok and Prokofiev. Embassy of Spain – Cultural Office | 2801 16th Street, NW, Washington, D.C. 20009 | Tel: (202) 728-2334 View this event online: https://www.spainculture.us/city/san-juan-puerto-rico/150th-anniversary-of-enrique-granados/ Created on 09/26/2021 | Page 1 of 1.

Copy Link

Recommended publications

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.
[Show full text]
Music in the Time of Goya
Music in the Time of Goya Programme ‘Goyescas’: Music in the Time of Goya Some of the greatest names in classical music support the Iberian and Latin American Music Society with their membership 2 November 2016, 7.00pm José Menor piano Daniel Barenboim The Latin Classical Chamber Orchestra featuring: Argentine pianist, conductor Helen Glaisher-Hernández piano | Elena Jáuregui violin | Evva Mizerska cello Nicole Crespo O’Donoghue violin | Cressida Wislocki viola and ILAMS member with special guest soloists: Nina Corti choreography & castanets Laura Snowden guitar | Christin Wismann soprano Opening address by Jordi Granados This evening the Iberian and Latin American Music Society (ILAMS) pays tribute to one of Spain’s most iconic composers, Enrique Granados (1867–1916) on the centenary year of his death, with a concert programme inspired by Granados’ greatest muse, the great Spanish painter Francisco de Goya y Lucientes (1746–1828), staged amidst the Baroque splendour of St John’s Smith Square – a venue which, appropriately, was completed not long before Goya’s birth, in 1728. Enrique Granados To pay homage to Granados here in London also seems especially fi tting given that the great Composer spent his fi nal days on British shores. Granados Will you drowned tragically in the English Channel along with his wife Amparo after their boat, the SS Sussex, was torpedoed by the Germans. At the height of his join them? compositional powers, Granados had been en route to Spain from New York where his opera, Goyescas, had just received its world premiere, and where he had also given a recital for President Woodrow Wilson; in his lifetime Granados was known as much for his virtuoso piano playing as for his talent as a composer.
[Show full text]
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.
[Show full text]
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.
[Show full text]
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.
[Show full text]
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
[Show full text]
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).
[Show full text]
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.
[Show full text]
Inspiration and Influence Behind the Keyboard Styles
INSPIRATION AND INFLUENCE BEHIND THE KEYBOARD STYLES OF ISAAC AL~ENIZ AND ENRIQUE GRANADOS by CAREY LYNN ABENDROTH A THESIS Presented to the School of Music and the Honors College of the University of Oregon in partial fulfillment of the requirements for the degree of Bachelor of Arts May 1990 ---ol...... .~ .~ ..., iii An Abstract of the Thesis of Carey Lynn Abendroth for the degree of Bachelor of Arts in the School of Music to be taken May 1990 Title: INSPIRATION AND INFLUENCE BEHIND THE KEYBOARD STYLES OF ISAAC ALBENIZ AND ENRIQUE GRANADOS Approved: Marian Smith Isaac Albeniz and Enrique Granados stand as two of Spain's most prominent composers of the early twentieth century. Both composers established their careers through their compositions for solo piano. I shall examine the inspiration and influences behind the keyboard style of each man. After introducing the composers and touching on the issues of Nationalism and musical style in the introduction, I shall discuss Spanish inspiration in the works of Isaac Albeniz, particularly as found within his Iberia, and offer brief musical examples from his compositions. Similarly, in the subsequent chapter, I shall discuss Spanish inspiration in the works of Enrique Granados with emphasis on his Goyescas. In the final section of this thesis, I shall address various aspects of the composers' musical language and factors that influenced that facet of their keyboard styles. I ..... iv ACKNOWLEDGEMENTS I wish to express my sincere appreciation to Marian smith whose assistance in the preparation of this manuscript was made all the more valuable by her enthusiasm for the sUbject area.
[Show full text]
Senior Recital: Hannah Norton, Mezzo-Soprano
SCHOOL of MUSIC Where PASSION is heard Senior Recital Hannah Norton, mezzo-soprano Erika Tazawa Jenkins, piano Sunday, November 8, 2020 | 3:30 PM Presented virtually from Morgan Concert Hall of the Bailey Performance Center This recital is presented in partial fulfillment of requirements for the degree Bachelor of Music in Performance. Ms. Norton studies voice with Dr. Nathan Munson. PROGRAM Ombra mai fù George Frederic Handel (1685-1759) Quella fiamma che m’accende Benedetto Marcello (1686-1739) Sonntag Johannes Brahms Meine Liebe ist grün (1833-1897) Dein blaues Auge El tra la la y el punteado Enrique Granados (1867-1916) El majo tímido Manuel de Falla Asturiana (1976-1946) Now Sleeps the Crimson Petal Roger Quilter Fear No More the Heat O’ the Sun (1877-1953) Sea Fever John Ireland (1879-1962) Silent Noon Ralph Vaughan Wiliams (1872-1958) 1 SCHOOL of MUSIC Where PASSION is heard PROGRAM NOTES Ombra mai fù | George Frideric Handel (1685-1759) George Frideric Handel, a German Baroque composer, was an extremely talented musician, even at a young age- he mastered composing for organ, oboe, and violin by the age of ten. During his teenage years, he composed church cantatas and by the age of 20, afer working as a pianist and organist in opera, Handel made his debut as an opera composer with Almira. From then on, he composed several other operas with great success and eventually switched to oratorios, which were large-scale concert pieces. In his later years, Handel suffered multiple strokes and other health issues, including the loss of sight in his lef eye.
[Show full text]
Enric Granados Y El Contexto Pedrelliano
Recerca Musicològica XIV-XV, 2004-2005 47-56 Enric Granados y el contexto pedrelliano Carol A. Hess Resumen. Enric Granados y el contexto pedrelliano Granados empezó sus estudios musicales con el pianista Joan Baptista Pujol, si bien quien más influyó en su obra fue Felip Pedrell, a quien Granados consideraba como verdadero maestro. Pedrell le comunicó su amor por el wagnerismo y tuvo una influencia fundamen- tal en su desarrollo artístico. En esta ponencia, la Dra. Hess estudia la personalidad de Gra- nados a través de sus composiciones y nos remite, con numerosas citas, a los estudiosos de su obra. (M.D.M.) Résumé. Enric Granados et le contexte «pedrellien» Granados entreprend ses études musicales avec le pianiste Joan Baptista Pujol, mais la per- sonne qui a le plus d’influence sur son oeuvre est Felip Pedrell que Granados considérait comme un véritable maître. Pedrell lui communique son amour pour la musique wagné- rienne et son influence sur son développement artistique est fondamentale. Dans cet expo- sé, Mme Hess étudie la personnalité de Granados à travers ses compositions et nous ren- voie par de nombreuses citations aux spécialistes de son oeuvre. (M.D.M.) Abstract. Enric Granados and the Pedrellian Context Granados began his musical studies under the pianist Joan Baptista Pujol, although the most influential figure in his work was Felip Pedrell, who Granados considered a true mas- ter. Pedrell transmitted to him his love of Wagnerism and had a fundamental influence on his artistic development. In this paper, Dr. Hess studies the personality of Granados through his compositions and refers, through numerous quotes, to scholars of his work.
[Show full text]
Demystifying the Art in Spanish Art Song in Late Nineteenth-Century Spain
Demystifying the Art in Spanish Art Song in late Nineteenth-Century Spain Carolina Botero A dissertation submitted in partial fulfillment of the requirements of the degree of Doctor of Musical Arts University of Washington 2021 Reading Committee Stephen Rumph, Chair Steven Morrison Tom Harper Program Authorized to Offer Degree: School of Music ©Copyright 2021 Carolina Botero University of Washington Abstract Demystifying the Art in Spanish Art Song in late Nineteenth-Century Spain Carolina Botero Chair of the Supervisory Committee: Stephen Rumph Department of Music History This dissertation seeks to uncover the components of Spanish art song through history, culture and musical contributions that set the pathway of the evolution of this art form. It aims to enlighten readers so that they can analyze and appreciate Spanish art song from the various influences that form the basis of the genre, including each composer’s overall process along with understanding the struggles that were necessary to propel its growth. The view of Spanish art song should not be considered one from a Spanish heritage perspective but instead as a process of stylistic changes, a combination of complex tendencies and nationalistic influences as an interconnected process for the construction of their musical language. Chapter One examines the composers Isaac Albeniz, Felipe Pedrell, Enrique Granados and Fermin A. Alvarez. It explores their ideas, aspirations, desires and goals as composers, treating them simply as composers at the heart of who they were during their time, without a predetermination that their Spanish heritage solely defines them and their works. Chapter Two invites the reader to look more deeply into the intrinsic value of Spanish art song’s musical tradition.
[Show full text]