University of Cincinnati

Home , Enrique Granados, Frank Marshall (pianist), Goyescas, Goyescas (opera), Henri Collet, The Parasol

UNIVERSITY OF CINCINNATI

Date:______May 21, 2008

I, ______,Soyoung Cho hereby submit this work as part of the requirements for the degree of: Doctor of Musical Arts in: Piano Performance

It is entitled: Interpretive Issues in Performing the Piano Suite "Goyescas" by Enrique Granados

This work and its defense approved by:

Chair: ______Miguel A. Roig-Francoli, Ph. D ______Frank Weinstock, Professor ______Elisabeth Pridonoff, Professor ______Interpretive Issues in Performing the Piano Suite “Goyescas” by Enrique Granados

A doctoral document

submitted to the

Division of Graduate Studies and Research of the University of Cincinnati

In partial fulfillment of the requirements for the degree of

DOCTOR OF MUSICAL ARTS

In the Division of Keyboard Studies of the College-Conservatory of Music

2008

Soyoung Cho

M. M., Ewha Womans University, 1997

B. M., Kyung-Won University, 1992

Committee Chair: Miguel A. Roig-Francoli, Ph.D.

Abstract

Goyescas is a very challenging work full of Granados’s artistic devotion for searching the authentic Spanish character in a variety of ways. Numerous Spanish elements – references to

Goya’s works, tonadillas, Spanish dances and songs, sound of guitars and castanets, etc. – are incorporated into this work. It is, indeed, a complex art work that interrelates visual arts, poetry, and music, all with a Spanish subject. Any pianists planning to study Granados’s Goyescas should first acquire the necessary background based on a thorough study of the music and its history. Knowledge of Granados’s inspiration from Goya’s works, the piece’s narrative elements

related with the opera Goyescas, Spanish idioms, and the improvisatory nature of Granados’s

piano style, is indispensable for fully understanding, interpreting, and performing this work.

However, the more important task for pianists is applying these various aspects into performance.

This document will assist pianists in this endeavor, dealing with various aspects related to the

interpretation of Goyescas that are necessary for an imaginative performance of the work.

The first three chapters are about important background aspects of Goyescas which should be considered by the pianist for a proper interpretation of the suite. Chapter four is an interpretive analysis for pianists dealing with each piece of Goyescas and discussing all aspects related to performance. The discussion includes overall structure, related paintings or etchings by

Goya, comparisons with corresponding scenes from the opera, and detailed performance suggestions for each individual selection. As six pieces from Goyescas are discussed one by one,

the corresponding painting or etching by Goya related to the piece is included as a helpful tool

for performance.

iii

Table of Contents

List of Figures ...... v

List of Tables ...... vi

List of Musical Examples ...... vii

Introduction ...... 1

Chapter

I. Imagination – Influences from Goya’s Works . . . . . 3

II. Performing as a Storyteller – Conceiving the Story and Sound of the Opera Goyescas .

...... 16

III. Spanish Temperament – Spanish Dances, Songs, and Sound of Guitar . . .

...... 19

IV. A Pianist’s Interpretive Analysis

1. “Los requiebros” ...... 27

2. “Coloquio en la reja” ...... 42

3. “El fandango de candil” ...... 58

4. “Quejas o la maja y el ruiseñor” ...... 72

5. “El amor y la muerte” ...... 84

6. “Epílogo: Serenata del espectro” ...... 94

Conclusion ...... 103

Bibliography ...... 105

iv List of Figures

Figure 1. Francisco Goya, Merienda a la orilla del manzanares, 1776 . . . 5 Figure 2. Francisco Goya, El columpio, 1787 ...... 5 Figure 3. Francisco Goya, El pelele, 1791-2 ...... 6 Figure 4. Francisco Goya, El quitasol, 1777 ...... 7 Figure 5. Francisco Goya, La maja y los embozados, 1777 . . . . . 7 Figure 6. Enrique Granados, La maja de paseo ...... 8 Figure 7. Enrique Granados, La maja de paseo ...... 8 Figure 8. Enrique Granados, La maja dolorosa, self-portrait, and La maja en el balcón . 9 Figure 9. Enrique Granados, Majo ...... 9 Figure 10. Francisco Goya, Las majas en el balcón, 1808-1812 . . . . 10 Figure 11. Enrique Granados, La maja en el balcón ...... 10 Figure 12. Francisco Goya, La duchesse d’Albe, 1795 . . . . . 11 Figure 13. Francisco Goya, La duchesse d’Albe, 1797 . . . . . 11 Figure 14. Francisco Goya, La gallina ciega, 1788-1789 . . . . . 12 Figure 15. Francisco Goya, El cacharrero, 1779 ...... 12 Figure 16. Francisco Goya, Retrato del torero martincho, c. 1790 . . . . 12 Figure 17. Francisco Goya, Ni asi la distingue ...... 13 Figure 18. Francisco Goya, Muchachos al avío ...... 13 Figure 18. Francisco Goya, Bellos consejos ...... 14 Figure 19. Francisco Goya, Dios la perdoe:Y era su madre . . . . . 14 Figure 20. Francisco Goya, Tal para cual ...... 28 Figure 21. Francisco Goya, Coloquio galante ...... 28 Figure 22. Enrique Granados, Coloquio en la reja ...... 42 Figure 23. Francisco Goya, El amor y la muerte ...... 84 Figure 24. Francisco Goya, Nun Frightened by a Ghost, 1819 . . . . 94

v List of Tables

Table 1. Spanish Idioms in Goyescas ...... 19 Table 2. Formal Structure of “Los requiebros” ...... 28 Table 3. Formal Structure of “Coloquio en la reja” ...... 45 Table 4. Formal Structure of “El fandango de candil” . . . . . 59 Table 5. Formal Structure of “Quejas o la maja y el ruiseñor” . . . . 73 Table 6. Formal Structure of “El amor y la muerte” ...... 85 Table 7. Formal Structure of “Epílogo: Serenata del espectro” . . . . 94

vi List of Musical Examples

Example 1.1. “Los requiebros,” mm. 350-357 ...... 22 Example 1.2. Tirana del Trípili by Blas de Laserna ...... 24 Example 1.3. “Los requiebros,” mm. 1-25 ...... 30 Example 1.4. “Los requiebros,” mm. 34-48 ...... 33 Example 1.5. “Los requiebros,” mm. 57-64 ...... 34 Example 1.6a. “Los requiebros,” mm. 73-81 ...... 35 Example 1.6b. Opera Goyescas, Tableau I, Scene 3, mm. 34-35 . . . . 35 Example 1.7. “Los requiebros,” mm. 104-111 ...... 36 Example 1.8. “Los requiebros,” mm. 112-120 ...... 37 Example 1.9. “Los requiebros,” mm. 125-131 ...... 38 Example 1.10. “Los requiebros,” mm. 135-146 ...... 38 Example 1.11a. “El majo olvidado,” mm. 25-46 ...... 39 Example 1.11b. “Los requiebros,” mm. 205-230 ...... 40 Example 1.12. “Los requiebros,” mm. 297-311 ...... 41 Example 2.1a. Sketch for “El amor del majo” ...... 43 Example 2.1b. “Coloquio en la reja”, Theme D, mm. 41-48 . . . . . 44 Example 2.1c. “Coloquio en la reja”, mm. 166-173 ...... 44 Example 2.2. “Coloquio en la reja”, Introduction and Theme A, mm. 1-11 . . . 46 Example 2.3. “Coloquio en la reja”, Theme B, mm. 15-22 . . . . . 47 Example 2.4. “Coloquio en la reja,” mm. 23-26 ...... 48 Example 2.5. “Coloquio en la reja,” mm. 49-52 ...... 48 Example 2.6. “Coloquio en la reja,” mm. 89-94 ...... 49 Example 2.7a. “Coloquio en la reja,” Theme C, mm. 29-32 . . . . . 50 Example 2.7b. “La maja dolorosa”, mm. 7-13 ...... 50 Example 2.7c. “Coloquio en la reja,” mm. 72-75 ...... 50 Example 2.8. “Coloquio en la reja,” Theme E, mm. 80-82 . . . . . 51 Example 2.9. “Coloquio en la reja,” Theme F, mm. 105-117 . . . . 53 Example 2.10. “Coloquio en la reja,” mm. 118-123 ...... 54 Example 2.11. “Coloquio en la reja,” mm. 132-135 ...... 54 Example 2.12. “Coloquio en la reja,” mm. 146-159 ...... 55 Example 2.13. “Coloquio en la reja,” m. 187 ...... 56 Example 3.1a. “El fandango de candil,” mm. 1-6 ...... 60 Example 3.1b. Opera Goyescas, Tableau II, Scene 1, mm. 1-7 . . . . 60 Example 3.2. “El fandango de candil,” mm. 9-13 ...... 61 Example 3.3. “El fandango de candil,” mm. 13-22 ...... 62 Example 3.4. “El fandango de candil,” mm. 40-47 ...... 64 Example 3.5. “El fandango de candil,” mm. 48-51 ...... 65 Example 3.6a. “El fandango de candil,” mm. 59-60 ...... 66 Example 3.6b. “El fandango de candil,” mm. 81-84 ...... 66 Example 3.6c. “El fandango de candil,” mm. 131-132 . . . . . 66 Example 3.7. “El fandango de candil,” mm. 61-70 ...... 67 Example 3.8. “El fandango de candil,” mm. 78-80 ...... 68 Example 3.9. “El fandango de candil,” mm. 93-96 ...... 68

vii Example 3.10. “El fandango de candil,” mm. 100-103 . . . . . 69 Example 3.11. “El fandango de candil,” mm. 104-107 . . . . . 69 Example 3.12. “El fandango de candil,” mm. 112-116 . . . . . 70 Example 3.13. “El fandango de candil,” mm. 125-130 . . . . . 71 Example 3.14. “El fandango de candil,” mm. 176-177 . . . . . 71 Example 4.1a. Notation of folksong ...... 74 Example 4.1b. “Quejas o la maja y el ruiseñor,” mm. 1-19 . . . . . 74 Example 4.2a. “Quejas o la maja y el ruiseñor,” Variation I, mm. 20-23 . . . 77 Example 4.2b. “Quejas o la maja y el ruiseñor,” Variation II, mm. 24-27 . . . 77 Example 4.3a. “Quejas o la maja y el ruiseñor,” Variation III, mm. 31-36 . . . 78 Example 4.3b. “Quejas o la maja y el ruiseñor,” Variation IV, mm. 37-40 . . . 78 Example 4.4. “Quejas o la maja y el ruiseñor,” Variation V, mm. 41-45 . . . 79 Example 4.5. “Quejas o la maja y el ruiseñor,” mm. 46-49 . . . . . 80 Example 4.6. “Quejas o la maja y el ruiseñor,” mm. 55-67 . . . . . 81 Example 4.7. “Quejas o la maja y el ruiseñor,” mm. 68-84 . . . . . 82 Example 5.1. “El amor y la muerte,” mm. 1-5 ...... 86 Example 5.2. “El amor y la muerte,” mm. 12-16 ...... 87 Example 5.3. “El amor y la muerte,” mm. 22-24 ...... 88 Example 5.4. “El amor y la muerte,” mm. 37-40 ...... 88 Example 5.5a. “El amor y la muerte,” mm. 50-54 ...... 89 Example 5.5b. “El amor y la muerte,” mm. 62-66 ...... 89 Example 5.6. “El amor y la muerte,” mm. 73-76 ...... 90 Example 5.7a. “El amor y la muerte,” mm. 81-86 ...... 90 Example 5.7b. “El fandango de candil,” mm. 85-88 ...... 91 Example 5.8. “El amor y la muerte,” mm. 97-108 ...... 92 Example 5.9. “El amor y la muerte,” mm. 176-208 ...... 93 Example 6.1. “Epílogo: Serenata del espectro,” mm. 1-14 . . . . . 96 Example 6.2. “Epílogo: Serenata del espectro,” mm. 107-114 . . . . 96 Example 6.3a. “Epílogo: Serenata del espectro,” mm. 39-45 . . . . . 97 Example 6.3b. “Epílogo: Serenata del espectro,” mm. 124-131 . . . . 97 Example 6.4a. “Epílogo: Serenata del espectro,” mm. 47-50 . . . . . 98 Example 6.4b. “Epílogo: Serenata del espectro,” mm. 169-172 . . . . 98 Example 6.4c. “Epílogo: Serenata del espectro,” mm. 175-178 . . . . 98 Example 6.4d. “Epílogo: Serenata del espectro,” mm. 183-185 . . . . 98 Example 6.5a. “Epílogo: Serenata del espectro,” mm. 59-64 . . . . . 99 Example 6.5b. “Epílogo: Serenata del espectro,” mm. 177-184 . . . . 99 Example 6.6. “Epílogo: Serenata del espectro,” mm. 143-150 . . . . 100 Example 6.7. “Epílogo: Serenata del espectro,” mm. 204-210 . . . . 101 Example 6.8. “Epílogo: Serenata del espectro,” mm. 249-262 . . . . 101

viii Introduction

Enrique Granados (1867-1916), along with Albéniz and de Falla, played an important

role in establishing a golden age of piano music in Spain. As an accomplished pianist with a

genuine talent for improvisation, he composed music displaying many traits of the Romantic

period combined with Spanish folk idioms. Most of his output consists of piano and vocal music.

His early works are mostly character pieces and Spanish dances that are attractive and

technically accessible. By contrast, Goyescas (1911) is a set of difficult pieces that represent the culmination of Granados’s experience and art. Goyescas, subtitled Los majos enamorados

(Majos in Love), consists of six pieces published in two volumes (1912-14): Volume I contains

Los requiebros (Flirtations), Coloquio en la reja (Conversation at the Window), El fandango de candil (Fandango by Lamplight), and Quejas ó la maja y el ruiseñor (Laments, or the Maiden and Nightingale); Volume II contains El amor y la muerte (Love and Death), and Epilogo, o

serenata del espectro (Epilogue: The Specter’s Serenade).

Goyescas is a very challenging work full of Granados’s artistic devotion for searching the authentic Spanish character in a variety of ways. Numerous Spanish elements – references to

However, the more important task for pianists is applying these various aspects into performance.

1 This document will assist pianists in this endeavor, dealing with various aspects related to the

interpretation of Goyescas that are necessary for an imaginative performance of the work.

Goya, comparisons with corresponding scenes from the opera, and detailed performance suggestions for each individual selection. As six pieces from Goyescas are discussed one by one,

the corresponding painting or etching by Goya related to the piece is included as a helpful tool

for performance.

2 I. Imagination – Influences from Goya’s Works

Influences from Goya’s paintings of majos and majas were widespread at the turn of the

nineteenth century. Goya’s majos and majas became the subject of literature and music

everywhere. Fernando Periquet explains, “to every Spaniard who possesses culture, Goya means

not only a name, but an epoch also.”1

In Goyescas, Granados successfully captured the spirit of the maja and the majo,

“expressing in turn the wishes, desires, anxieties, expectations, the tremulous and ardent joys of love.”2 Discovering the various aspects and expressions in which Goyescas parallels Goya’s

works would certainly enhance any performance of the work. Whether intentional or not, there is

strong evidence of a resemblance between Granados’s compositions and Goya’s works; thus,

careful study of the many paintings, drawings, and etchings of Goya could help stimulate the

imagination of any pianist planning to perform Goyescas.

Goyescas is among the most noteworthy examples of a work of art in one medium created under the influence of an artist working in another medium. Granados deeply admired the art of Francisco Goya (1746-1828), Spain’s great painter. As a young man making his first visit to the Prado Museum in Madrid, he was indelibly impressed by etchings and paintings of

Goya, which portrayed the spirit of everyday life of Madrid in the late eighteenth century. This

artwork captured the mood, color, and all the fire and nuance of the Romantic era in Spain. That

is the origin of Goyescas – “Goya-esque” pieces.3 Shortly after composing Goyescas, Granados

wrote to pianist Joaquin Malats:

1Fernando Periquet, “Goyescas: How the Opera Was Conceived,” Opera News 7 (January 29, 1916): 12.

2Georges Jean-Aubry, “Enrique Granados,” Musical Times 57 (December1, 1916): 536.

3Alicia de Larrocha, “Goya of Music: Alicia de Larrocha Talks about Granados,” Opera News 32 (December 1967): 6.

3 I have composed a collection of Goyescas of great sweep and difficulty. I fell in love with Goya’s psychology, with his palette; with his lady-like Maja; his aristocratic Majo; with him and the Duchess of Alba, his quarrels, his loves and flatteries. That rosy whiteness of the cheeks contrasted with lace and black velvet with jet, those supple- waisted figures with mother-of-pearl and jasmine-like hands resting on black tissue have dazzled me.”4

Thus, in Goyescas the keyboard becomes a sonic canvas, conveying the essence of

Goya’s Madrid. Granados translates the images and moods in Goya’s works into sound in

Goyescas; as he said, “a mixture of bitterness, grace, rhythm, and color that is typically Spanish

– feelings suddenly amorous and passionate, dramatic and tragic, as seen in Goya’s works.”5

Many tapestry cartoons and etchings from Los caprichos are reflected in the music of the piano

suite and, later, the libretto, set, and costumes for the opera Goyescas.6

Goya painted more than 60 cartoons between 1775 and 1792 for the Royal Tapestry

Factory of Santa Barbara. Many of the tapestry cartoons depict various scenes in the lives of the

eighteenth-century maja and majo, touching on subjects such as flirtation, love, dancing, dueling,

and guitar serenades. These cartoons were created during one of the happiest periods of his life,

before his struggles with illness. During this period, Goya’s style underwent significant change,

developing from the customary manner of a rococo decorator to a newer movement of realism.

Merienda a la orilla del manzanares (The Picnic on the Banks of the Manzanares, Figure

1) and El columpio (The Swing, Figure 2) are good examples of the subjects that intrigued

Granados: namely, the majas and majos of eighteenth-century Madrid. At this time, artists in

France were concerned with painting pastoral landscapes, this interest taking priority over human

4A quote attributed to Letter dated December II, 1910 (Mm, fons Granados. 10.034) and cited in Walter Aaron Clark, Enrique Granados: Poet of the Piano (New York: Oxford University Press, 2006), 123.

5A quote attributed to Henri Collet, Albeniz et Granados (Paris, 1926): 230 and cited in Jean Rogers Longland, “Granados and the Opera Goyesca,” Notes Hispanic 5 (1945): 98.

6Granados and Goyescas: The Catalogue of Exhibition Honoring Enrique Granados and the American Premiere of Goyescas (Boston: Boston Athenaeum, 1982) provides the information of the particular paintings and etchings by Goya which had inspired Granados.

4 subjects. By contrast, while Goya introduced complex landscapes as backgrounds in his art, he

still remained interested in the human element. His own description of his painting reveals this:

“Some gypsies amusing themselves, swinging a gypsy woman with another two seated watching and playing the guitar, with its corresponding landscape.”7

Figure 1. Merienda a la orilla del manzanares, 1776 Figure 2. El columpio, 1787

Granados was equally concerned “with people, how they looked, thought, and acted. It was

precisely the physical characteristics of Goya’s subjects that aroused within him the intense

emotion he felt compelled to express through music.”8

The three works by Goya, Tal para cual, El amor y la muerte, and El pelele, demonstrate

a clear and direct influence on Goyescas. The first two works will be discussed in the last chapter

with the corresponding pieces. “El pelele,” which is actually the opening piece of the opera

Goyescas, is traditionally played at the end of the piano suite. El pelele (The Straw Mannequin,

Figure 3) reveals this direct influence, depicting four majas tossing a life sized straw mannequin

7Janis Tomlinson, Francisco Goya y Lucientes 1746-1828 (London: Phaidon Press Limited, 1994), 27.

8Clark, 123.

5 of a rejected suitor on a blanket. Granados translates this painting by Goya through refined and ironic musical treatment, using simple harmonies and a major tonality to reflect the bright colors and facial expressions of the majas. Throughout the piece, trills and ornamentations correspond to the frilly dresses of the four majas. Rising and falling melodies, when combined with the repeated rhythmic motive and bouncing staccato articulations, recall the flying and falling of the mannequin on the blanket.

Figure 3. El pelele, 1791-2

Granados’s harmonic color may be compared to the warm and delicate blend of hues seen

in Goya’s paintings, with both artists treating the line as a part of a larger harmonic or color flow.

Guidol says El quitasol (The Parasol, Figure 4) has “. . . sumptuous color, light effects and fabric

qualities . . . rich color harmony and increased interest in tactile quality.”9 Although the woman

is dressed as a member of the upper class, her dress, with the graceful swirling movement of its

9Jose Guidol, Goya (New York: Hyperion Press, 1941), 76.

6 folds and bright colors, may inspire the pianist’s imagination when he encounters the decorative

melodies and curved phrase shapes found in Goyescas.

Figure 4. El quitasol, 1777 Figure 5. La maja y los embozados, 1777

One can imagine the costume and posture of the characters in the opera Goyescas – Rosario,

Fernando, Paquiro, Pepa, and other people in chorus–from the many works of Goya. Goya’s La maja y los embozados (The Maja and the Cloaked Men, Figure 5) provides examples of the sumptuous attire favored by the maja and the majo, reflecting changes in fashion among the

Spanish aristocracy towards the end of the eighteenth century; costume designs for majos in the opera’s chorus were directly inspired by this painting. Pepa is one of the principal characters whose charms are displayed in a flamboyant manner comparable to the maja in this painting.10

In fact, so entranced was Granados by Goya’s depictions of majas that he continually

drew sketches of these sensual, colorfully dressed women even while preparing music for the

10Granados and Goyescas: The Catalogue of Exhibition Honoring Enrique Granados and the American Premiere of Goyescas (Boston: Boston Athenaeum, 1982), 14.

7 world premiere of the opera Goyescas.11 His notebook, Apuntes y temas para mis obras (Notes

and Themes for My Works), contains musical sketches, verses, and drawings (Figure 6, 7, 8, and

9). The subjects of these drawings are the majas and the majos of eighteenth century Madrid,

described as follows:

The majas…are brilliant and beautiful women, who adore brightly colored dresses, gleaming shawls, make-up, jewelry and love-making. They call themselves florists or dressmakers but take for themselves more flowers and material than they sell….The majos, their male counterparts, too elegant to do any work, idle, flattering and jealous, flash burning glances at the ladies and passionate declarations of love; among themselves, the majos occasionally also exchange lasting wounds, with daggers.12

Figure 6. Granados, La maja de Figure 7. Granados, La maja de paseo (The maja out for a walk), paseo (The maja out for a walk), Courtesy of Pierpont Morgan Courtesy of Pierpont Morgan Library, New York Library, New York

11Ibid. 15.

12Daniel De Voto, “Spain,” in Music in the Modern Age, ed. F. W. Sternfeld (New York: Weinfeld & Nicolson, 1973), 313.

Figure 8. Granados, La maja dolorosa Figure 9. Granados, Majo, (The sad maja), self-portrait, and La Courtesy of Pierpont maja en el balcón (The maja on the Morgan Library, New York balcony), Courtesy of Pierpont Morgan Library, New York

Their style is reminiscent of Goya’s Los caprichos, which depicts the maja’s black eyes and hair,

covered with a mantilla; the majo is presented wearing a cape and a high two-cornered hat.

Coloquio en la reja, among Granados’s sketches, shares its title with the second piece of

Goyescas (See the last chapter); another of his sketches, La maja en el balcón (Maja on a

Balcony, Figure 11), recalls a work by Goya with the same title (Figure 10).

Figure 10. Goya, Las majas en Figure 11. Granados, La maja en el el balcón, 1808-1812 balcón, Courtesy of Pierpont Morgan Library, New York

Compared with Pepa, Rosario – a noblewoman – is only vaguely maja-esque, reflecting an aristocratic, dreamy vision also found in Granados’s sketches. Granados described his inspiration for the characters of Fernando and Rosario as follows:

If Goya is not literally impersonated in the opera, we have none the less incorporated him in an imaginative fashion, if I may express it so. In the character of the nobleman, Fernando, I mentally visualized Goya; in Rosario I beheld the Duchess of Alba. That resemblance sufficed to stimulate my fancy. For the rest, I disapprove of all attempts to place great personages of reality on the stage. The portrayal of them must always fall short of their grandeur in the actuality of existence.13

Granados claimed before the premiere that the characters of Fernando and Rosario were actually

based on Goya and his mistress, the Duchess of Alba, although it is unlikely that any specific

representation was intended. Among Goya’s paintings, La duchesse d’Albe (The Duchess of

13Herbert F. Peyser, “Granados here for production of Goyescas,” Musical America Vol. 23 (December, 1915): 3.

10 Alba) is portrayed in both a normal style (Figure 12) and in the traditional costumes of the lower class majas (Figure 13). This painting demonstrates that many people of the upper class sought to emulate the dress and mannerisms of the free-spirited majas and majos.

Figure 12. La duchesse Figure 13. La duchesse d’Albe, 1795 d’Albe, 1797

Rosario’s image can be derived from various portraits of the Duchess of Alba as well as from Goya’s La gallina ciega (Blindman’s Buff, Figure 14). This painting depicts a circle of eight aristocrats surrounding a blindfolded man who is attempting to touch a woman with a wooden spoon. The colors are delicately blended, centering around the graceful, milky whites of the clouds and the garments of the majas. Granados uses this title for the subtitle of his opera

Ovillejos; Granados stated that he originally wrote “El fandango de candil” of Goyescas for this opera.14 Other majas in the opera were likely drawn from the figure of a young woman holding pottery in El cacharrero (The Pottery Vendor, Figure 15).

14Douglas Riva, “The Goyescas for Piano by Enrique Granados: A Critical Edition.” (Ph.D. diss., New York University, 1983), 15.

Figure 14. La gallina ciega, 1788-1789 Figure 15. El cacharrero, 1779

Fernando Periquet, the librettist for Goyescas, described Paquiro in a letter to “The New

York Times”: “Paquiro is, aside from the famous painting Retrato del torero Martincho, one of

620 bullfighters which Goya sketched.”15

Figure 16. Retrato del torero Martincho, c. 1790

15Fernando Periquet, “From the Librettist of Goyescas,” The New York Times (February 27th, 1916): 6.

12 Los caprichos (1792-1799) are products of Goya’s mature period; the series of etchings

depict such everyday themes as flirtation, love, and the clergy, but in a grotesque, almost surreal manner.16 Goya progressed from depicting the light side of human activity to representing

unbalanced and uncertain creations of darkness. Goya’s vision evolved into Los caprichos and

grew progressively darker towards the end of his life.

Goya’s Los caprichos especially resembles Goyescas in its use of narration and variation

on themes. A number of Goya’s etchings from Los caprichos contributed to Granados’s

Goyescas: Tal para cual (Two of a Kind, no. 5), Ni asi la distingue (He Cannot Make Her Out,

no. 7), El amor y la muerte (Love and Death, no. 10), Muchachos al avío (Lads Making Ready,

no. 11), Bellos consejos (Beautiful Advice, no. 15), Dios la perdone: Y era su madre (May God

Forgive Her: And It Was Her Mother, no. 16), and Quien mas rendido? (Who is more devoted?,

no. 27). Each of these etchings portrays manners reflected in the libretto, music, and costumes

for the opera and also shows a marked similarity to the drawings made by Granados in his

notebook.

Figure 17. Ni asi la distingue Figure 18. Muchachos al avío

16Annemarie Schuessler, “Piano Music of Granados,” Clavier 31(October 1992): 19.

Figure 18. Bellos consejos Figure 19. Dios la perdone: Y era su madre

Goyescas parallels the art of Goya in subject, style, structure, and expression, all of which

reflect Spanish characteristics. Los caprichos, when expressed in Romantic terms, can be

translated to a fantasy without fixed form; likewise, Goyescas is based on the recurrence of

themes and can be considered as a free fantasy rather than as a sonata or other tightly structured

form. Enrique Lafuente Ferrari’s description of Los caprichos does well in expressing

similarities in the use of form between Goya and Granados:

Goya’s genius was not one that favored a classical form. To use musical terminology, it is difficult to fit the Caprices into symphony or sonata form, with the andante at the beginning, then the serene legato, followed by a scherzo and a final allegro. Although a rationalist in his ideas, in spirit Goya was a Romantic. The poetic quality of the Caprices comes particularly from the constant recurrence of a certain number of leitmotifs. The whole series is shaped more like a symphonic poem or a rhapsody than like a symphony.17

Thus, in a sense, Granados’s use of variation on themes and leitmotifs in Goyescas may be thought of as a result of Goya’s influence.

17Enrique Lafuente Ferrari, Goya: His Complete Etchings, Aquatints, and Lithographs, Trans. by Raymond Rudorff (New York: Harry N. Abrams, Inc., n.d., 1962), 12.

14 Goyescas parallels Goya’s tapestry cartoons and paintings with its dependence on

harmonic color, ornamented melodic lines, and texture; likewise, the suite matches Los caprichos in its treatment of subject matter, form, and narrative elements. The pianist’s own imagination – especially the consideration of characters such as the majas and majos that appear in the works of Goya – would be indispensable in conceiving a unifying narrative for performance purposes.

15 II. Performing as a Storyteller – Conceiving the Story and Sound of the Opera Goyescas

Given that they share much of the same music, reflection on the opera Goyescas cannot

be separated from the study of the piano suite. Moreover, the opera provides a lyrical and visual

context for the scenes as Granados would have imagined them – always with Goya’s works as a

basis. Thus, giving proper consideration to the opera is a necessary prerequisite for any pianist

interested in performing the suite.

Going by only the individual titles of the six separate pieces of Goyescas and some

markings by Granados, the pianist may be able to independently conceive a story with six scenes.

However, knowledge of the dramatic narrative of the opera would greatly enhance

interpretations of the piano suite in terms of musical expression. In addition to this, the pianist

has the additional option of transferring the sound palette of the opera to the keyboard: solo voice,

duet, quartet, chorus, solo instrument, orchestra, etc., all of which are discussed in the last

chapter. The composition of the opera postdates the piano suite, with both sharing much of the

same music; thus, the pianist is free to take interpretive ideas from the opera. Furthermore, it

would be useful from a performance perspective to analyze Granados’s final version18 of

Goyescas, which is realized in the opera, and to use this as inspiration in creating a programmatic guide to the music.

The plot of the opera is based on subjects from the time of Goya, with characters of nobility (Rosario and Fernando) and common people (Pepa and Paquiro) – a story of flirtation,

love, jealousy, and death is woven around these four characters. The following is a

rearrangement of the story line to the entire piano suite, which is based on the libretto for the

opera Goyescas.

18Researchers point out Granados’s compositional habit of continual refinement of his works, which may arise from his improvisatory nature.

16 1. “Los requiebros” (Flirtation) Paquiro, the bullfighter, is passing among the women, flattering them and paying them compliments, when Pepa, the fiancé of Paquiro, arrives in her dog-cart. Shortly afterwards, Rosario, a lady of rank, arrives in her sedan-chair; she comes to meet her lover, Fernando, a captain in the Royal Spanish Guards. Paquiro approaches Rosario chivalrously and bows to her gracefully. He compliments that she is a dream of a woman and so beautiful. He reminds her that she once danced with him at a lantern-lighted ball and invites her to go again. Pepa, the majas, and majos observe the scene, surprised. Pepa becomes jealous at this, and Fernando overhears Paquiro’s invitation. He tells Paquiro that Rosario shall go to the dance, but that he will accompany her.

2. “Coloquio en la reja” (Conversation at the Window) Rosario goes slowly into the house and reappears leaning out of a window, where Fernando finds her. They sing an impassioned love-duet that reflects both love and conflict between Rosario and Fernando.

3. “El fandango de candil” (Fandango by Lamplight) People dance the fandango at the lantern-lit ball. Fernando and Rosario arrive. Pepa’s jealousy and Fernando’s taunting of Paquiro provoke a quarrel. Fernando challenges Paquiro to a duel. Rosario, who is unaware of the arranged duel, persuades Fernando to leave from the Ball.

4. “Quejas o la maja y el ruiseñor” (Lament, or the Maiden and the Nightingale) Rosario is in her garden. Rosario is seated on a stone bench, listening to the Nightingale’s song and singing a passionate love-song.

5. “El amor y la muerte” (Love and Death: a Ballad) Rosario enters supporting Fernando. She sings her sorrows and premonitions. They remember the moments they spent together. Fernando dies in her arms. Rosario falls onto the body of Fernando.

6. “Epílogo: Serenata del espectro” (Epilogue: The Specter’s Serenade) The ghost of Fernando appears around Rosario but she doesn’t notice him. He serenades playing the guitar. He memories the beautiful moments spent with her. After tolling of the church bells, he disappears plucking each string of the guitar.

In the opera, Granados arranged this music into the order 1-3-4-2-5, with the omission of

“Epilogo.”19 The piano version of “Coloquio” follows “Requiebros” and precedes “Fandango”; in the opera, this scene follows both “Fandango” and “Quejas” and appears directly before

“Amor,” which is the concluding number. The reason for this interchange is that the mortal duel

19The author has abbreviated each title of the Goyescas: “Requiebros,” “Coloquio,” “Fandango,” “Quejas,” “Amor,” and “Epilogo.”

17 has already been revealed in “Coloquio.” Music added to “Coloquio” for the stage describes the

sword fight and screams of Fernando and Rosario. As a victorious Paquiro flees into the

background, dissonant acciaccatura chords prepare the final scene. Therefore, before playing the

fifth piece, the pianist should imagine the scene – a duel, followed by Rosario’s horror-filled

screams upon seeing the mortally wounded Fernando – in order to truly feel the proper tragic

emotion. Nevertheless, music for the two versions differs only in slight details, with both conveying passionate and melancholic love. The continuous appearance of certain themes and their transformations creates a musical narrative of sound, reflecting the characters and their emotional changes as the music progresses throughout the story.

Performing the suite from a storyteller’s perspective reflects the musician’s individual perception of the score as well as his concept of the work as a musical whole, which is revealed in the music he produces. Playing in this way requires special creativity from the performer and an adept ability to shape the music to affect audience response. By applying narrative elements and sound palettes from the opera to the piano suite, a performer will be able to weave a storyline – complete with compelling plot and characters – from the foundations laid by

Granados’s music.

18 III. Spanish Temperament – Spanish Dances, Songs, and Sound of Guitar

Goyescas, in both forms, represents the universality and international recognition that

was the ultimate objective for this generation of Spanish composer – a style based upon the rhythms and accents of Spanish dance forms, allied with a melodic structure derived from

Chopin’s cantilena and its associated harmonies, and combined together with Lisztian virtuoso

technique.20 The entire suite is constructed of alternating song and dance, with the exception of the fifth piece (Table 1). The pianist must capture the essence of Spanish song and dance as it

relates to each movement of Goyescas; it should be as natural to his or her performance as though he or she were a native Spaniard singing and dancing.

Table 1. Spanish Idioms in Goyescas

Vol. 1 I Los requiebros 3/8 Tirana del Trípili Jota rhythm II Coloquio en la 3/4 Sound of guitar, reja Quotations of Tonadilla “El amor del majo” and “La maja dolorosa” Cante jondo style in recitative III El fandango de 3/4 Fandango rhythm candil IV Quejas o la maja 3/4 Valencian folk song y el ruiseñor Vol. 2 V El amor y la 3/4(6/8) muerte VI Epilogo- 3/8 Dance rhythm in triple meter, sound of Serenata del guitar espectro

Among many Spanish dances, the jota and fandango are especially prevalent in Goyescas.

These dances are usually accompanied by guitars. The jota is a dance in rapid triple time that

appears in many variants throughout Spain but is regarded primarily as Aragonese. The jota

includes a main section, called a copla, which is preceded by an instrumental introduction, and

20Burnett James, Manuel de Falla and the Spanish Musical Renaissance (London: Victor Gollancz Ltd. 1979), 56.

19 estribillos (refrains), which are musically and sometimes textually distinct. The phrases of the copla are accompanied by the alternation of dominant and tonic harmonies.

The fandango is a lively couple-dance in triple meter, accompanied by a guitar and castanets or palmas (hand clapping). It is considered the most widespread of Spain’s traditional dances.21 The fandango is most often related to Andalusia and became widespread from the beginning of the 18th century. Although its origins were among the gypsies and muleteers of

Spain, by the end of the 18th century this dance had become popular with the aristocracy as well.22 As in the jota, the fandango also features the alternation of coplas with distinct instrumental sections, known as falsetas. Although its form is similar to the jota, the fandango is essentially different due to its modal characteristics and great harmonic diversity. It is characterized by distinctive rhythmical and harmonic patterns that are repeated throughout the dance. The introduction comes to a cadence in the E mode, after which the first phrase of the copla cadences on a major chord a major third lower than the original cadence (on E). The second phrase cadences on the fourth degree, the fourth on the fifth degree, while the sixth phrase leads back to the initial E mode. Granados reflects some aspects of the form of the fandango but does not strictly follow this structure.

Although flamenco originates with the gypsies of Andalusia, this artform incorporates many traditional features of Spanish dancing. The gypsies prefer to use the pito (finger snapping), the palmada (clapping of the hands with a sharp, dry “clack”; also, slapping of the thighs), and the taconeo (rhythmic stamping with the heels), which is one variety of the zapateado (from

21Arcadio de Larrea Palacín, Martin Cunningham, and Ramón Pelinski, ‘Spain,’ Grove Music Online ed. (Accessed 11 June 2007), http://www.grovemusic.com.proxy.libraries.uc.edu.

22Natalia Granados de Carreras, 14.

20 zapato, “shoe”).23 These rhythmic devices for musical expression provide a variety of cross

rhythms and syncopations that can be used to supply hemiola, off-beat accents, and dissonances.

The curving, repeating, and winding ornamented melodic materials that frequently appear

throughout Goyescas are likely inspired by this form of Spanish dance, which is based on grace of body and hand movement. Andre Levinson points out the main difference between European

dance and Andalusian dance:

The European dance, especially as developed in the ballet, . . . the arms and legs are detached from the body in extended movements, . . . the Andalusian dances . . . employ every muscle in an intense concentration of dynamic movement in which the decorative element is the sinuous arabesque of arms and hands, never angular, but ever winding and curving and turning.24

Occasionally, Granados brings an unexpected stop to the music. This kind of

improvisatory trait is related to bien parado, which refers to moments in Spanish folk dance

when the dancers assume an immobile pose. A careful decision regarding the length of the

silence must be quickly made by the performer, based on context and the amount of tension

desired (Example 1.1).

23Gilbert Chase, The Music of Spain. 2nd ed. (New York: Dover Publications, 1959), 250.

24Ibid., 245-246.

21 Example 1.1. “Los requiebros,” mm. 350-357

One can imagine such moments of immobility and other scenes related to the fandango through

the following description:

Men and women, young and old, acknowledge the power of this air over the ears and soul of every Spaniard. The young men spring to their places, rattling castanets, or imitating their sound by snapping their fingers. The girls are remarkable for the willowy languor and lightness of their movements, the voluptuousness of their attitudes – beating the exactest time with tapping heels. Partners tease and entreat and pursue each other by turns. Suddenly the music stops, and each dancer shows his skill by remaining absolutely motionless, bounding again in the full life of the fandango as the orchestra strikes up. The sound of the guitar, the violin, the rapid tic-tac of heels (taconeos), the crack of fingers and castanets, the supple swaying of the dancers, fill the spectators with ecstasy.25

Granados’s fascination with the majo and maja of Goya naturally finds its realization in the composition of the Tonadilla, the popular music of Goya’s time. The tonadilla originated as a “little song”; popular in eighteenth century Madrid, it was appended to short theatrical forms and sung by an actor to the accompaniment of the guitar.26 Granados wrote twelve Tonadillas for

voice and piano, all of which shared the common theme of romance among the men and women

25Carl van Vechten, The Music of Spain (New York: Alfred A. Knopf Inc., 1918), 56.

26Chase, 128.

22 of Madrid in Goya’s time. A woman laments the death of her lover in three of the songs; in

others, a woman searches for her lover, suffers because he has forgotten her, happily remembers

their time together, or considers how well he can keep a secret.27

The Goyescas obviously reveal much borrowed melodic material from Granados’s

Tonadillas. Granados described the close relationship between the Goyescas and Tonadillas in his notebook Apuntes:

[The] [c]ollection of Tonadillas [is] written in the classical mode (originals). These Tonadillas [are] (originals); they are not those previously known and harmonized. I wanted to create a collection that would serve me as a document for the Goyescas. And it has to be known that with the exception of Los requiebros and Las quejas, in no other of my Goyescas are there any popular themes. They are definitely written in a popular style but they are originals.28

The detailed relationship between the Tonadillas and the Goyescas will be discussed in the last

chapter. One may consider the playing of the melody of the Tonadillas themselves as the singing

of a song within a given musical context, allowing for the application of Steven Blier’s

description: “What makes these songs so magical . . . and so difficult . . . is the understated

rubato they require, tiny gradations of give and take in the rhythm, allied to a firm, springy

attack without any touch of heaviness.”29

“Los requiebros” is based on the estribillo (refrain) of the tonadilla, Tirana del trípili by

Blas de Laserna, which was already well known in the eighteenth century and became

tremendously popular in nineteenth century Europe due to its inclusions in various theatrical

pieces, such as the overture to I due Figaro (1835) by Mercadante. These two simple phrases of

the refrain provide the two main themes for the complex and seemingly inexhaustible variations

27Douglas Stalker, “Guide to Records: Granados,” American Record Guide Vol. 61, Issue 6 (Nov/ Dec 1998): 138.

28Enrique Granados, Apuntes y temas para mis obras, Pierpont Morgan Library, New York. Transcribed and Traslated by Douglas Riva in “The Goyescas: A Critical Edition,” 16.

29Steven Blier, “The Great Granados,” Opera News Vol. 70, Issue 11 (May 2006): 47.

23 that Granados developed in “Los requiebros.”30 The use of Tirana reveals another instance of

Granados’s fascination with Goya’s eighteenth century.

Example 1.2. Tirana del Trípili by Blas de Laserna31

The tirana is a dance-song common to the region of Andalusia that is characterized by a

syncopated rhythmic pattern, usually in 3/8 or 6/8 time. If the song is to be danced, it affords

“opportunities for grace and gesture, the women toying with their aprons, the men flourishing

hats and handkerchiefs.”32 The lyrics are usually in the form of coplas (verses) and estribillos

(refrains). Most tonadillas in the 1780s ended with tiranas.

The cante jondo, flamenco deep-song, stems from an Andalusian heritage and is vocally

performed by the gypsies with quarter-tone inflections between small intervals. Although it is

completely impossible to execute the quarter-tone pitches with the piano, Spanish composers

tried to capture the essence of this style and to evoke its mystery and melancholic sadness. An

30Xosé Aviñoa, “Introduction to Goyescas,” documentation and text by Douglas Riva, in Integral para Piano/ Enrique Granados, Goyescas 2, vol. 4. (Barcelona: Editorial de Musica Boileau, 2001), 20.

31Chase, 131.

32Vechten, 45.

24 important characteristic of cante jondo appearing in “Coloquio” is the preponderance of ornate

embellishments (See Example 2.13). These are found frequently in Spanish music and are to be

rendered expressively – not always fast, especially in pieces where the basic tempo is slow.

Together with the poignant melody, they express the sensitive brooding quality inherent to gypsy

music.33

Goyescas is infused with the sound of guitar. Granados was especially inspired by the

sound of the Spanish guitar, the most expressive Spanish instrument not only for accompanying

Spanish folk songs and dances, but also for performing as a solo instrument. The use of a guitar

idiom on the piano imbues Spanish flavor into the music and reflects its nationalistic spirit.

Granados was extremely clear in denoting his intentions in two particular movements of

Goyescas: he marks “Toutes les basses imitant la guitare (all bass notes imitating the guitar)” in

the beginning of “Coloquio” and “Le spectre disparaît pinçant les cordes de sa guitare (the

ghost disappears plucking the strings of his guitar)” in the ending of “Epilogo,” a passage which

shows the open string tuning of the guitar, E-A-D-G-B-E. Besides these direct indications, much

of the music in Goyescas calls for guitar-like effects made with arpeggiated chords, staccatos,

tremolos, chord-spacings, and harmonic progressions.

The Spanish guitar is played in three basic styles: rasgueado and punteado, and pulgato.

Rasgueado refers to strumming the chords in an upwards or downwards direction with four fingers of the right hand (excluding the thumb), while punteado refers to picking or plucking one string at a time to produce a melody or a succession of separate notes. In many places of

Goyescas, a staccato touch recalls the plucking of the strings of a guitar; furthermore, a strumming effect is often produced through the use of arpeggiated figurations (See Example 6.2).

33Olga Llano Kuehl, “The Piano music of Spain: Its Flavor and Interpretation,” Clavier 15 (October 1976): 18.

25 Pulgato is another guitar technique of plucking strings that uses only the thumb to produce a very strong and accented sound. In fact, this technique was favored by many flamenco guitarists.34 The pianist, especially those who are not Spanish, must not forget that the sound of the guitar often provides a vital pulse to the rhythm, a fact that was always at the forefront of a

Spanish composer’s mind.

Strong inner sentiment and sensitivity, a fertile imagination, and a feeling for the Spanish flavor are necessary for the pianist to give a sympathetic interpretation of Goyescas.35 The performer should employ a creative and imaginative sound to assimilate as closely as possible the Spanish idiom at the keyboard.

34Linton E. Powell, A History of Spanish Piano Music (Bloomington: Indiana University Press, 1980), 152.

35Kuehl, 18.

26 IV. A Pianist’s Interpretive Analysis

1. “Los requiebros”

A Spanish expression that defies translation into English, “requiebros” signifies a

charming form of gallant conduct in which the lover offers whispered praise of the grace and

beauty of his beloved. In this piece, which describes this amorous situation, there are a profusion

of expression marks equally difficult to translate on account of their reference to an ethos that is

peculiarly Spanish; these terms define the character and interpretation of the piece.36 Chase

claims that such indications reveal the musical ‘madrileñismo’ of Granados in some of its most characteristic manifestations.37

Granados took his inspiration for this piece directly from the Capricho No. 5, Tal para

cual (Two of a Kind, Figure 20) which appeared on the cover of the first edition of Goyescas.38

This etching depicts a lady in black with a mantilla, a gentleman with cocked hat and rapier, and a pair of old women in the background sniggering at them. In “Los requiebros,” the courting and flirting are portrayed musically by its playful, capricious mood and continually changing tempos.

Other etchings and paintings thematically similar to “Los requiebros” could serve as stimulus for performance. Coloquio galante (The Flirtation, Figure 21) features a frilly lace dress that would correspond well with the ornamental style of this piece. The decorative charm and bright colors of El quitasol (The Parasol, Figure 4) parallel the ornamented, undulating figuration and the harmonic tone color found in “Los requiebros.” It is filled with all the grace, brightness, and lyric charm found in Goya’s tapestry cartoons.

36Manuel Valls, Liner Notes to Granados: Goyescas. Alicia de Larrocha, Pianist. Decca DD 1982, 1984. Compact Disc.

37Chase, 163.

38Dorothy Packard, “Searching Spain for Background and Color,” Clavier 6 (October 1967): 25.

Figure 20. Tal para cual Figure 21. Coloquio galante

The entire movement consists mainly of two themes (Copla 1 and 2) taken from Tirana del trípili by Blas de Laserna, their improvisational variations, and an estribillo, his own music.

Each theme is individually treated in a variety of ways – such as with different ornamentation, rhythm, and accompaniment – in several keys, and presented only once in succession, as in

Tirana, before reaching the climax. Granados combined this Tirana melody with a jota dance form. “Los requiebros” incorporates many characteristics of the jota within a freer context. The formal structure is outlined as follows.

Table 2. Formal Structure of “Los requiebros”

Section Measures Tonal Center A 1-4 Introduction E-flat 5-32 Copla 1 33-56 Variation on Copla 1 B 57-64 Copla 2 E-flat 65-72 Variations on Copla 2 E-flat 73-80 E 81-90 91-111 Transition

28 C 112-126 Estribillo D-flat 127-134 Transition G B′ 135-138 Variations on Copla 2 G 139-146 147-154 g 155-178 Transition g A′ 179-205 Copla 1 E-flat 206-216 Bridge 217-223 Variations on Copla 1 B-flat 224-231 232-241 242-247 (Transition) 248-267 268-278 279-295 296-310 Refrain of Tirana (Copla 1+2) E-flat Coda 310-357 Coda E-flat

“Los requiebros” features a profusion of variations and ornamentations of its thematic

material, as seen in the real jota. Variation form helps to portray the majo and his spontaneously

changing emotions of flirtation, passion, and playfulness by musical means such as variously

changing accompaniment, ornamentation, articulation, and texture. Although Granados’s use of

the double bars reflects the intention to delineate the various sections, this movement is not in a

strict “theme and variation” form – variations on two themes are loosely arranged with rhapsodic

passages and guitar-like transitions. His variation technique is extremely effective, with the accompanying texture becoming progressively more elaborate with each appearance of the copla

theme.

In the introduction, there is a graceful figurative contour twirling over a dominant pedal

that is typical of Granados. The curved shape of the melody and its ornamented style become

more eminent as the movement develops. The first theme, taken from the first phrase of

Laserna’s estribillo, is accompanied by chord arpeggiation with triplets on the second beat. This

shows some rhythmic characteristics of the jota, including hemiola, accents on the second beat,

29 and a melody beginning on beat two in triple meter. One can imagine the sound of guitar accompaniment since jota was typically danced to the guitar. To achieve a dance character, the first beat needs to be held a little longer than written, while conversely the triplet figuration must be played slightly faster than written. Nevertheless the basic pulse should not be lost. Performer should make the music breathe and dance by his responsive sense of rhythm.

Example 1.3. “Los requiebros,” mm. 1-25

30 Another characteristic of the jota is the use of simple tonic-dominant harmonic alternations in

major tonality, which allows for profuse melodic ornamentations, rhythmic improvisation, and

doubled melodic lines. The theme in double notes, as seen in mm. 12-19, frequently appears

throughout the movement. Together with the leaps downward to low bass pitches in the left hand,

this melody presents some technical difficulties for the pianist. In most cases, the upper voice

must be played with a legato articulation; assigning good fingering is the primary concerns for

playing a smooth phrase in mm. 16-19. For legato playing, the fingers, wrist, forearm, and arm

should work together as a coordinated unit, and the middle voice – played almost exclusively by

the first and second fingers – should be practiced with even weight. The wrist should help to

channel the weight from the arm, allowing for smooth movement in each finger.

The cadential rhythm is typical of the jota and contributes to produce a hemiola

effect, thus blurring the phrase structure. In the author’s imagination, this characteristic rhythm

evokes the gesture and expression of flirting seen in Coloquio galante, as well as recalling

Paquiro’s courting of Rosario in the opera. Granados creates the wit, grace, and picturesque

feeling through a slight change of rhythm from Tirana. The accompanying chord in the left hand

(m. 12) serves to launch the phrase into the next continuous, varied melodic line. One may

consider the phrase shape from mm. 5-32 as being constructed through the process of

intensification and relaxation, making for a long, flawless line of melody. Until m. 23, four four-

bar phrases grow together as one large phrase due to their cadential patterns, which obscure the

downbeat and create a hemiola effect. The second and fourth phrases are not mere repetitions, but are rather very expressive extensions of the previous phrases; they are connected to the larger whole by their cadential patterns. Intensification is generated by accelerando and ritenuto, along with crescendo in the dynamics and an extension of the register; this tension is then released with

31 the subito piano marking at m. 24. At this point, Granados’s use of minor harmony for six

measures serves as a means of evoking the sentiment of sadness. In the opera, Paquiro

compliments Rosario’s beauty; Rosario fearfully sings in minor, seeking Fernando, and the long

melody is concluded by Paquiro, who sings gallantly.

Granados favors the use of paired variations in “Los requiebros,” as well as in other

pieces of the Goyescas. Phrases are continuously repeated with embellishments and varied

accompaniments. The music of mm. 34-56 maintains a basic framework of Copla 1 in terms of melody, rhythm, and harmony, but it features constant triplets in the accompaniment and a melody in octaves with a ff dynamic, creating an orchestral effect that contrasts with the previous iteration. There are characteristics of folk music in mm. 34-48, including the drone bass of a fifth

(E-flat and B-flat) and rich ornamentation such as rolls, mordents, and grace notes. The execution of the ornaments depends on the performer’s own interpretation: some ornaments may be treated as a simple elaboration and can be played quickly (m. 40), while others may be treated as a part of the melody and thus played more expressively (m. 48). A smooth melodic shape lacking harshness for the octaves and a clear articulation for the ornamentation are important points for the performer to consider in this section (Example 1.4).

32 Example 1.4. “Los requiebros,” mm. 34-48

The second theme (Copla 2) is a variant of the second phrase of Laserna’s estribillo, which is placed in the tenor – emphasizing the second beat through use of agogic accents – and set against florid passages in the right hand (Example 1.5). The triplets sweep the keyboard while the simple melody is played at an easygoing pace. This triplet passage including ornaments should be flawlessly even. For achieving evenness the pianist must practice for controlling the weight given on each finger. Agogic accents on the second beat for the left hand melody should not affect to this passage. The melody changes through the course of the next three variations, illustrating Granados’s reputation as a great improviser. The performer, for his part, may make

33 the recurrent theme interesting by changing tone colors, taking liberties with the tempo, and

varying the phrasing.

Example 1.5. “Los requiebros,” mm. 57-64

The consideration of overall structure as each copla progresses is important to the performer.

Morrison asserted, “The vocally conceived lyricism achieves its intensity because the composer

so often takes a simple and basic enough motive and then writes variations of ever-increasing complexity, wreathing garlands of the densest and most decorative foliage round his fundamental idea. Granados repeats his material, not only conveying a unity of conception but sort of ecstatic insistence and delirious circling round the initial material. By endless varied repetition he conveys an obsessive and static insistence on the essential beauty of his conception.”39

One of the variations of Copla 2 in mm. 73-80 depicts the duet of Rosario and Pepa in the

opera. In reflecting this, the pianist must be concerned with the notated articulation of the middle

part, treating the voice not as an accompaniment, but as the song of Pepa (Example 1.6a).

39Bryce Morrison, review of Granados: The Complete Piano Music of Granados, performed by Thomas Rajne, Musical Opinion 99 (February 1976): 203-204.

34 Example 1.6a. “Los requiebros,” mm. 73-81

Example 1.6b. Opera Goyescas, Tableau I, Scene 3, mm. 34-35

Transition figurations in mm. 106-111 include short, repeated, falling patterns in the right hand, each marked ‘decrescendo,’ and represent Pepa’s mockery according to the opera text

(Opera, mm. 66-71). The first eight notes of Copla 1 are played detached in the left hand,

35 modulating from F major to D-flat major. The triplet accompaniment of the right hand recalls the

sound of castanets (Example 1.7).

Example 1.7. “Los requiebros,” mm. 104-111

From Copla1

The estribillo contains a new melody in the tenor surrounding the material from the first copla. At this point, the music settles down into D-flat major. The pianist should focus on balance and melodic shape within a multi-voice texture that includes alternating hand technique in an ornamental style. In the opera, Rosario and Fernando exchange the melody between them in a sort of give-and-take; soon, Pepa and Paquiro join them. There is an expression mark in

Rosario’s part: “with Spanish fervor.” Consideration of Rosario and Fernando’s parts and how they translate to the keyboard would be helpful in producing distinctive melodic lines imbued with their characteristic sound (mm. 112-126).

36 Example 1.8. “Los requiebros,” mm. 112-120

112

Fernando

Rosario

Fernando

An augmented sixth modulation by a tritone – D-flat major to G major – is effective in opening the transition and changing the mood from passion to playfulness (mm. 126-127). This section requires the pianist to change the former soft and flat touch to one that is articulated and

quick for the large leaps and mains croisées, such as in the music of Scarlatti. The first theme is

treated capriciously, appearing in duple meter as implied through Granados’s pedal marking at m.

131 (Example 1.9).

37 Example 1.9. “Los requiebros,” mm. 125-131

The second theme (Copla 2) returns with a smoothly flowing accompaniment and is subsequently transformed into the jumping jota character, with accents on the third beat of the left hand (Example 1.10). Before reaching the “Allegro assai” section, the pianist should continue to feel duple meter for a bar. Many pianists generally assume a tempo in which the length of the first measure of the “Allegro assai” is equal to half of the preceding bar ( = ).

Example 1.10. “Los requiebros,” mm. 135-146

The Variante de la tonadilla section sounds almost new in its tonality and calm mood, but it reveals Granados’s ingenuity, with the theme from the tonadilla “El majo olvidado (The

Forgotten Majo)” skillfully combined with the opening melody of “Los requiebros.”40 Both the

Variante de la tonadilla section and the transition leading to it are derived from Granados’s tonadilla “El majo olvidado.”

Example 1.11a. “El majo olvidado,” mm. 25-30, 37-43 25

40 Douglas Riva, “The Goyescas for Piano by Enrique Granados: A Critical Edition” (Ph. D. diss., New York University, 1982), 17.

39 Example 1.11b. “Los requiebros,” mm. 205-230

tonadilla

Copla 1

This section is a good example of phrase extension, a typical technique of Granados: each new variation further develops aspects of the previous one such that the material is gradually transformed and embellished. The first of the paired variations (mm. 217-223 and 224-231) is presented in a chorale-like texture, with the second tracing over the first for three measures before rising to a higher pitch, G. The third one (mm. 232-241) extends the phrase to the highest

40 pitch, B-flat, shortly alluding G minor with a meter change to 2/8 and leading to increased rhythmic activity. The shape of this phrase forms an arch that grows bigger as it progresses; irregular phrases throughout this section are likely the result of improvisation. This section assists the effective return of the tonadilla in the next section.

The first theme, together with the second theme, recurs as in Laserna’s original version,

covering the full range of keyboard with octave leaps. This section requires a full-toned sonority

along with the triumphant feeling of return.

Example 1.12. “Los requiebros,” mm. 297-311

Granados employed a simple song for this piece but treated it with displays of brilliant

pianism – complex arpeggios, difficult double note passage and elegant counterpoint over

chromatic harmonies – and characteristics of the Spanish jota. Frequent tempo changes and

flexible applications of rubato must be used with care – the performer should focus not only on

subtle details, but also on phrasing within the entire structure as a whole.

41 2. “Coloquio en la reja”

Granados’s own drawing “Coloquio en la reja (Figure 22),” found in his notebook,

reveals the inspiration for his piano piece with the same title. This drawing portrays a majo and

his beloved maja conversing through a lattice-window. Clark described the music as it compares

to the drawing: “. . . . the majo’s back is facing us, the viewer. This conversation is very private,

and we can only hear the murmurings and whisperings of endearment passing between the two.

This explains the intimate and withdrawn character of the opening. As the movement develops, it

becomes more passionate.”41

Figure 22. Enrique Granados, Coloquio en la reja, Courtesy of Pierpont Morgan Library, New York

In the opera, this piece takes place after Rosario sings with the nightingale. Rosario slowly enters

the house and stands at a latticed window, where she and Fernando sing their passionate duet;

41 Walter Aaron Clark, Enrique Granados: Poet of the Piano (New York: Oxford University Press, 2006), 131.

42 this is followed by the duel in which he is killed. This scene is understood as both an amorous conversation and a passionate dispute between Rosario and Fernando. The text of the scene reflects a wide spectrum of emotions ranging from tenderness to passion; this is expressed through the use of rubato and frequent tempo changes in the piano suite. Chromaticism and frequent tonal shifts reflect the undulation of their emotions, culminating in the duel with

Paquiro.

This piece is based on a musical sketch entitled “El amor del majo” in his notebook, which he called Apuntes y temas para mis obras. This sketch reveals that Granados had intended to write a song under the title but eventually did not do so. Granados instead used the ascending four notes in the first two measures as a thematic motive and fully quoted the entire melody of the sketch twice in “Coloquio.” The motive appears throughout the movement and provides unity to the entire structure. Later, this melody reappears at a fff dynamic with full block chords accompanied by double-note triplet figurations – it represents the operatic scene of Rosario pleading with Fernando not to participate in the duel. Carefully shaped phrases and a measured gradation of dynamics to produce a legato sound are requirements for this section (Example 2.1a, b, and c).

Example 2.1a. Sketch for “El amor del majo”

43 Example 2.1b. “Coloquio en la reja,” Theme D, mm. 41-48

Example 2.1c. “Coloquio en la reja,” mm. 166-175

44 The large-scale formal structure can be seen as A-B-C-A′-coda divided by a guitar prelude, interludes, and a postlude (Table 3). There are six principal themes with their respective improvisatory variations beautifully laid out within the movement. The music unfolds in the same way as the amorous dialogue of the majo and the maja, in which their love is expressed spontaneously without any particular organization.

Table 3. Formal Structure of “Coloquio en la reja”

Section Measures Indication Tonal Center A 1-5 Guitar prelude con sentimento amoroso B-flat 6-14 Theme A e-flat 15-22 Theme B con molta espressione 23-28 Bridge ( with thematic material of A) 29-32 Theme C (“La maja dolorosa”) un poco meno mosso/ teneramente 33-40 Transition on materials of Theme A, B & C 41-48 Theme D (“El amor del majo”) poco in tempo b-flat 49-63 Transition on material of meno mosso/ appassionato Theme B B 64-68 Guitar interlude avec sourdine très leger C 69-79 Improvisation on materials of Theme B & C 80-88 Theme E espress./ calmato ed F amoroso 89-96 Variation on Theme B 97-104 Variation on Theme E C 105-117 Theme F Copla/ molto espress. B-flat 118-129 Improvisation on très calme/ dolciss. Theme F 130-148 Transition on material of appassionato Theme B A′ 149-157 Guitar interlude Allegretto airoso e-flat 158-165 Improvisation on Grave/ la main droite très Theme A légère

45 166-176 Theme D (“El grandioso Amor del Majo”) 177-186 Guitar interlude Coda 187 Coda Recitative con dolore ed appassionato 188-196 Guitar postlude Adagio B-flat on Theme A

The five-measure introduction reveals that Granados was interested in emulating the low, rich tones of the guitar. The harmonic ambiguity of Theme A seems to evoke an uncertain atmosphere – the longing for something unattainable, and the dark shadows of love. In spite of the harmonic vagueness, augmented-sixth chords (mm. 6 and 8) resolve to B-flat, implying a tonal center of E-flat (Example 2.2). A mellow tone is required in the melodic lines of the soprano and alto as if evoking a love duet between Fernando and Rosario. Shading of the augmented-sixth chords and the deceptive harmony is important in capturing the Spanish atmosphere.

Example 2.2. “Coloquio en la reja,” Introduction and Theme A, mm. 1-11

Prelude Theme A

46 Theme B contains the same rhythmic pattern as m. 10 of Theme A. Granados uses a fluctuation of the mode in mm. 15-16 as an effective device for expressing melancholic love in this piece (Example 2.3).

Example 2.3. “Coloquio en la reja,” Theme B, mm. 15-22

Throughout the piece, Granados favored the repetition of two-bar phrases with varied endings, such as in mm. 15-18 of Theme B. In the last two measures of Theme B, an enharmonic modulation in m. 21 is noticeable along with Granados’s indication “poco ten.” The G-flat chord

(bVI in B-flat) becomes F-sharp chord (V in B) by enharmonic reinterpretation on the third beat of m. 21. The performer should feel this change and concentrate especially on voicing and tone color for it.

A decisive tone is needed immediately after the enharmonic modulation in order to provide a contrast for the previous amorous mood. The bridge connecting Theme B to Theme C is mingled with gestures from the bass of Theme A. The dynamic range increases dramatically in

47 mm. 23-24, while the music repeats in mm. 25-26 with wide-spanned leaps. Rather than hurrying,

the performer should stretch the eighth notes in order to create an effective crescendo (Example

2.4).

Example 2.4. “Coloquio en la reja,” mm. 23-26

The Meno mosso section in mm. 49-52 is notated on three staves and marked appassionato. It is based on the descending melodic line found in the second measure of Theme

B. As seen in example 2.4, by repeating the two-bar phrase and extending the descending scale,

Granados creates moments of dramatic tension. In playing the descending octaves, the performer must avoid sounding harsh or heavy; rather, this passage must be carefully voiced along with the left hand (Example 2.5).

Example 2.5. “Coloquio en la reja,” mm. 49-52

Theme B reappears in mm. 89-93 and is arranged across three staves, as it requires a wide range of the keyboard (Example 2.6). Especially challenging for the pianist is voicing the melody embedded in the middle line, as Granados divides it between the hands. Because this inner

48 melodic line must be brought out, balance is the most important consideration, as there are contrapuntal, embellishing lines complicating the texture. Balance is of constant concern throughout the piece. The music in mm. 89-102 is omitted in the Opera.

Example 2.6. “Coloquio en la reja,” mm. 89-94

Theme C is a two-bar paired unit featuring a chromatic descending bass line (Example

2.7a). It is quoted from “La maja dolorosa” among his Tonadillas (Example 2.7b). The melody is rhythmically displaced on the off-beats and produces a floating atmosphere that results from the freedom from metric accentuation. It is an unusual theme with regards to its large leaps and the wide range. This theme takes on an improvisatory quality as the music progresses (Example

2.7c).

49 Example 2.7a. “Coloquio en la reja,” Theme C, mm. 29-32

Example 2.7b. “La maja dolorosa,” mm. 7-13

Example 2.7c. “Coloquio en la reja,” mm. 72-75

In example 2.7c, Theme C contains characteristics of free improvisation while still maintaining the chromatic descent in the bass and the general framework of the melody. In the opera,

50 sequential passages are often divided according to the protagonists: Fernando sings mm. 31-32,

72-73 and Rosario sings mm. 29-30, 74-75, alternating in a question and answer style. Pianists

might consider this singing style of Fernando and Rosario during performance and keep in mind

that the second phrase is not just a repetition of the first.

Granados favors the use of the phrases of asymmetric length along with asymmetric

intervals, as seen in Theme C; the pianist should always consider the direction of phrasing and the appropriate use of rubato. Livermore’s description about Granados’s Tonadillas is tied to the

Goyescas as well:

The asymmetry of intervals within the phrases and asymmetry of these phrases one to another express agitation of mood which the poet was not able to put into words . . . . Typically, the epitaph is sighed out by the piano alone with a deliberate depth of dropping modulation which is one of Granados’s chief grace.42

Theme E is the most important, as it recurs in the other movements of the suite – its

recurrence plays an important role in “Amor,” showing how Granados endows a simple melodic

line (G-A-Bb-C-F-E-D-C-Bb-A-G) with richer expressiveness. Its major tonality, coloristic

added-harmonies, and profuse embellishment reflect the happiness of love (Example 2.8).

Example 2.8. “Coloquio en la reja,” Theme E, mm. 80-82

The five-note ornamental turn is especially favored by Granados in the Goyescas. It is used to

embellish passing tones as well as repeated notes in almost every movement of the Goyescas.

Clark said that it suggests several things: “the arabesque filigree typical of Spanish folk song, the

42Ann Livermore, “Granados and the Nineteenth Century in Spain,” Music Review 7 (May 1946), 84.

51 ornamentation of a Scarlatti sonata, and perhaps even the geometric pattern of a reja.”43 This ornamental turn expands and vitalizes many of the principal themes in the Goyescas. “Coloquio” plays the most important role in the entire piano suite, because the thematic material from this piece is quoted in every other movement of the Goyescas (the exception being “Quejas”).

Theme F, which is divided into two halves, is stated only once in this piece; it is a copla with two melodic phrases that are repeated respectively and supported by various inner melodic lines. The melodies of the copla usually incorporate longer note values at the ends of phrases. It should be performed with great freedom, while the accompaniment for long note at the end of phrase is performed in somewhat faster or strict tempo. The second half is shorter than the first, but it has a stronger character and dynamics. The two-bar phrase of the second half of Theme F is varied by registral and accompanimental changes and extended in mm. 115-117. In the opera, each phrase of Theme F is sung by Fernando and Rosario in alternation. The complexity of the texture, which is filled with many accidentals and played through various distributions of the hands, is one of the larger challenges for the performer. The pianist should bring out the melody and shape the multiple lines of the inner voices with various tone qualities, which can be created by subtle inflections on harmonic progressions and countless gradations, vertically and horizontally (Example 2.9).

43Clark, 131.

52 Example 2.9. “Coloquio en la reja,” Theme F, mm. 105-117

First half

105

Second half

53 Harmonic and chromatic improvisation on Theme F in mm. 118-129 results in an impressionistic sound. Although the first half of Theme B is obscured, the second half is clearly heard in the left hand. Shading the harmony with sensitive use of the pedal, along with a light touch, may be necessary for playing the sixteenth notes within the chordal texture.

Example 2.10. “Coloquio en la reja,” mm. 118-123

118

The transition, based on Theme B material, reaches a climax through creative modulation and repetition of key sequences. In mm. 133-135, Granados simultaneously notates the right hand in 6/8 and the left hand in 3/4; the corresponding opera passage is in 6/8, reflecting characteristics of folk meter.

Example 2.11. “Coloquio en la reja,” mm. 132-135

54 In mm. 149-165, passages written to emulate the sound and style of guitar playing

provide a strong contrast with the previous thick-textured, pedaled sound. In the opera, this

music serves to cue the arrival of the fateful duel. This music is played with a sharp staccato

touch and, unlike the rest of “Coloquio,” features strong Spanish dance rhythms with accents on

the third beat and a division of 3/4 into two halves (m. 156). Guitar interludes such as this provide a refreshing relief from the endless flows of amorous themes that are found throughout the piece.

Example 2.12. “Coloquio en la reja,” mm. 146-159

Interlude

55 From this last guitar interlude, the piano suite continues on a different path from the

opera – a recitative in cante jondo style, absent in the opera, is played with a single line in each

hand, one octave apart. The notes B-flat, A-flat, G-flat and E-flat of the first phrase could be

considered as the retrograde of the first four notes of Theme A. The expressive ornamental figure

of a repeated half-step motion is characteristic of the vocal gypsy style and imitates the quarter-

tone inflections of the cante jondo. By using this ornamental figure – a modal D-flat / D-natural

fluctuation – and combining it with the improvisational freedom of a tempo without bar lines,

Granados captures the exotic and sad mood of gypsy song.

Example 2.13. “Coloquio en la reja,” m. 187

In the opera, the end of this scene is played by the orchestra alone. The music consists of running scales in octaves and tremolos when Fernando is mortally wounded offstage; as screams are heard and Paquiro flees in the background, the scene ends with three sharp chords played by brass and percussion instruments.

All of the themes in this movement are laid out with expressive ornamental figurations and are supported by as many as two or three inner melodic parts. Because the phrasing continuously evolves due to the movement’s improvisational style, the pianist is faced with the challenge of long, unbroken stretches of continuous melody; it is the performer’s responsibility, therefore, to grasp the subtle differences presented in the various restatements of the themes.

56 “Coloquio en la reja” requires subtlety of tone, touch, and pedaling from the pianist rather than technical ability, though its contrapuntal complexity – involving three staves filled with many accidentals – makes the piece quite challenging to play. The various sections of “Coloquio en la reja” are cleverly linked through an intertwining of the six themes, providing a musical expression of the intimate and passionate love between Fernando and Rosario. As Walthew said,

“The music seems planned with the idea of being sung, one phrase melting into the next with extended ideas.”44 Granados skillfully weaves the themes of “Coloquio,” thus creating a complex and rewarding musical “lattice.”

44Richard H. Walthew, “Enrique Granados: 1867-1916.” Musical Opinion and Musical Trade Review (September 1916): 758

57 3. “El fandango de candil”

“El fandango de candil” took no direct influence from Goya’s works; rather, a sainete by

Ramón de la Cruz with the same title likely served as the proximate inspiration for Granados’s

movement.45 Cruz was the leader of the literary majismo during Goya’s lifetime. In 1756 he

introduced a new kind of drama: the sainete, a short one act sketch on contemporary manners and customs, lasting no more than half an hour, and performed either as a curtain raiser or

between the acts of the regular drama. There is no plot; the drama is a simple tableau of

contemporary society,46 describing the daily life of the majas, majos, and aristocrats in Madrid.

The paintings of Goya merely show that such a class did exist, as well as providing details of

their manner of dress and the amusements they enjoyed; Cruz’s pictures, by comparison, are

incomparably more detailed and vivid than Goya’s.47 Around 1900, both Goya and Cruz inspired

many composers who sought to infuse their stage works with the spirit of majismo.48

The fandango was a popular dance in eighteenth century Spain. It is characterized by the

rhythmic pattern: and is danced in moderate to quick triple time to the

accompaniment of castanets and guitars in alternation with sung couplets.49 Granados creates this

45Clark, 132.

46Arthur Hamilton, A Study of Spanish Manners 1750-1800: from The Plays of Ramón de la Cruz (University of Illinois Press, 1926), 7.

47Ibid., 10.

48Clark presents a partial listing of musico-theatrical works of the time dedicated to the themes of Goya and his epoch in Clark, 115.

49Willi Apel, Harvard Dictionary of Music, 2nd rev. ed., (The Belknap Press of Harvard University Press: Massachusetts, 1969), 307.

58 movement in a form that combines ternary structure with the copla/ falseta50 alternation typical

of the fandango, although this alternation does not follow its rigid harmonic structure (Table 4).

Table 4. Formal Structure of “El fandango de candil”

Section A Section B Section A′ 1-8 Introduction d 81-88 “Coloquio e 104-111 Introduction′ d Theme” 9-13 Theme A-a d 88-92 Falseta 112-116 Theme A-a′ d 13-21 Falseta 93-100 Theme D E 117-124 A′ A-b′ (F) 22-29 Theme A-b (F) 101-103 Falseta d d 29-39 Falseta 125-145 Falseta 40-47 Theme B F 146-153 Theme B′ A 48-60 Falseta 153-161 Falseta 61-70 Theme C f 162-170 Theme C′ A

70-80 Falseta 171-177 Falseta

In the opera, this scene takes place at a lantern-lit ball in Madrid. The majos and majas, including Paquiro and Pepa, are all present for the fascinating fandango. The upper-class, characterized by Fernando and Rosario, arrives in this scene. Fernando challenges Paquiro to a duel as Rosario pleads with him to leave; ignoring her, Fernando insists on the challenge while the crowd warns him of the impending disaster.

The instructions, Escena cantada y bailada lentamente y con ritmo (scene sung and danced slowly and rhythmically) and Gallardo (elegant or graceful), suggest the overall mood for performance – an elegant melodic line over the rigorous fandango dance rhythm.

Harmonic, agogic accents throughout the movement imply cross-rhythms or metric displacements. Additionally the pattern of the bass pitches creates a hemiola effect in 3/2 for every two bars written in 3/4 (Example 3.1a); the performer should feel these different meters simultaneously, as it is one of the most distinctive characteristics of Spanish music. The left hand

50Brief instrumental passage inserted between coplas.

59 accompaniment in the opera score proves that Granados consciously intended this hemiola effect

(Example 3.1b).

Example 3.1a. “El fandango de candil,” mm. 1-6

Example 3.1b. Opera Goyescas, Tableau II, Scene 1, mm. 1-7

The introduction emphasizes the rhythmically-accented zapateado (shoe-dancing) of the Spanish

dancers, with the character of the castanets conveyed in the triplet figuration. Its insistent

rhythmic pattern permeates the piece while the rich and elegant harmonies provide color to the

increasing drama. For this introduction, the pianist should emphasize the strong rhythms, using sharp staccatos with quick grabbing motions while paying special attention to dynamic, agogic, and harmonic accentuation; all of this must be achieved within a soft dynamic. Pedaling must be used only as much as it does not confuse clarity.

60 The principal lyric theme consists of the contrasting couplet of the dance. For this copla melody, the pianist must clearly maintain the insistent fandango rhythm in the left hand while shaping the right hand ‘cantando’ melodic line with agogic accents on the second beat. Additionally, careful pedaling is required for outlining the arpeggiated staccato chords in the left hand in mm. 10-12. The key should be pressed deeply for the melody while the rhythmic accompaniment is played with a light touch (Example 3.2).

Example 3.2. “El fandango de candil,” mm. 9-13

The turn on the downbeat at m. 10 is typical of folk music in southern Spain. Like this ornamental turn, many embellishments are precisely notated as a part of melodic line throughout the Goyescas. This principal theme is interrupted by an instrumental passage (falseta) in the first section, but it is fully stated in the third section without disruption.

Granados frequently uses variation technique for paired phrases, making the second statement more ornate, intense, and at a higher register than the first iteration (as seen in the previous pieces). This device plays an important role in manufacturing tension and excitement of music. In many cases, the second statement of the paired unit is technically more difficult; the multitude of double-notes in m. 17, 19, and 21 especially can be a problem (Example 3.3). These

61 double-notes should be snapped quickly like castanets; the performer needs to focus the weight

of fingers to the top voice while throwing the hand at the accented note, allowing the wrist to

follow the rhythmic and melodic curve of the phrase. Experimentation with different

combinations of finger and wrist drop would help in overcoming this difficulty. Also it is necessary to practice with different rhythms to control fingers that make the performer free and secure. Grace notes are also meant to imitate castanets in “Fandango.”

Example 3.3. “El fandango de candil,” mm. 13-22

62 Various interpretive decisions can be made for the grouping of phrases within the larger structure.

Phrase shapes can be created through a subtle connection of dynamics and rubato with the melodic direction. For example, there are several possibilities of grouping the phrases for the introduction. If grouping according to two-bar units, one option is to play the introduction emphasizing the first bar of each phrase; another is to shape the phrase into the downbeat of the second bar. The possibility of grouping the phrase into four-bar units also exists. Whatever the performer decides, it should be played with consistency throughout the piece. Measure 21 is an addition inserted between symmetric phrases; it conflicts with the regular periodicity and can affect grouping decisions. Asymmetry and ambiguous metric shifts in this piece are details that must be perceived and interpreted by the performer.

The passionate Theme B consists of a pair of four-bar phrases. The pianist should take care not to lose warmth in the sound as the music gets louder. The block-chord melody can be played with an insistent feeling, but the sound should not be forceful; rather, it needs to be shaped and treated gracefully together with the accompanying triplet runs. The use of a more sustained pedal is indispensable to singing this melodic line (Example 3.4).

63 Example 3.4. “El fandango de candil,” mm. 40-47

After Theme B, the running triplet figurations should be played with clean articulation as well as melodic direction; slightly pulling the fingertips toward the palm of the hand can help create an articulated, light sound that is necessary not only in this section, but throughout

“Fandango.” Within these running passages, offbeat accented notes in the middle voice create a theme comprising neighbor tones leading to the strong beats (A-B-flat-D-flat -C-D-flat). This motive appears frequently throughout “Fandango” and should be emphasized by the pianist.

64 Example 3.5. “El fandango de candil,” mm. 48-51

There are three distinctive instances in which Granados uses material from other movements for “Fandango.” The continuous rhythm of the fandango momentarily stops as we hear two beats of music from “Quejas” (Example 3.6a); the striking of the first note from

“Quejas” might be slightly delayed to enhance the effect. This expressive moment is also heightened by a sudden change of dynamics and character. Major-minor fluctuation and a quick downbeat turn at m. 60 contribute to the Spanish flavor. Another thematic recurrence appears in the bass at the beginning of the middle section; this section provides a contrast in character to the rhythmic outer sections, recalling motive “a” of “Coloquio” (Example 3.6b) with Granados’s indication “mystérieux.” This melody is accompanied by figurations evoking the sound of the guitar. The “Coloquio” motive descends sequentially by whole step, after which it is immediately repeated, this time with a contrasting broad character in a fortissimo dynamic at m.

85. The other thematic recurrence is a triplet passage that recalls the graceful figuration in the introduction of “Requiebros” (Example 3.6c).

65 Example 3.6a. “El fandango de candil,” mm. 59-60

Example 3.6b. “El fandango de candil,” mm. 81-84

Coloquio

Example 3.6c. “El fandango de candil,” mm. 131-132

Theme C is accompanied by the running sixteenth-note figuration and its phrase structure is irregular (3+3+4 measures). The asymmetric phrase here assists in expressing the feeling of agitation (Example 3.7).

66 Example 3.7. “El fandango de candil,” mm. 61-70

An interesting aspect among the three themes is the turn-like figuration with the rhythmic pattern

, which is included in all themes. In addition, Theme B and C are more closely related, sharing the harmonic progression, B-flat minor-G-flat major-A-flat major-cadence in F major.

67 In mm. 78-80, Granados evokes the sound of guitar by means of tremolo and arpeggiated

chords in the left hand. The augmented sixth chord at m. 80 leads to the dominant of E-flat minor and, when combined with the guitar effects described above, further imbues the passage with the flavor of Spanish music.

Example 3.8. “El fandango de candil,” mm. 78-80

The middle section includes music based on an E-flat minor iteration of the “Coloquio” theme along with Theme D, which has a different character from the previous three themes. In the opera, Theme D (mm. 93-100 in the piano score) is presented as solo melodies for Paquiro and Pepa, who sing each phrase respectively. Here Paquiro sings with ironic grace and tries to provoke Fernando by suggesting that Rosario should join the dance. The pianist can allow himself great freedom to express Paquiro’s suggestive song, focusing especially on the graceful ornamentation over the simple I-IV-V-I harmony of E-flat major (Example 3.9).

Example 3.9. “El fandango de candil,” mm. 93-96

68 Measures 101-103 lead to the return of the introduction through the use of common-tone and enharmonic modulation. This retransition again recalls the sound of the guitar and requires subtle color changes – following the harmonic progression with delicate staccato as well as mains croisées.

Example 3.10. “El fandango de candil,” mm. 100-103

100

The return of the A section begins with a highly decorated version of the introduction and fandango theme. In this section, the use of acciaccaturas creates a special effect evoking the sound of the guitar. The sharp dissonance between G-sharp and A, as well as the off-beat accents, produce the characteristic, almost metallic, sound of the flamenco guitar.

Example 3.11. “El fandango de candil,” mm. 104-107

104

69 Theme A returns in the middle voice of the texture with a varied rhythm and accents. The triplet motive in the accompaniment is continuously imitated in every voice, playing an embellishing role for Theme A. Special care should be given to balance between the melodic shape and the triplet figurations, which can be done through the use of a varied tone and different dynamic levels in each voice.

Example 3.12. “El fandango de candil,” mm. 112-116

112

115

The falseta in mm. 125-131 includes runs and staccato chords recalling a Scarlatti keyboard sonata. A light, articulated touch from the fingertips, coordinated with a flexible wrist, is needed for these runs and short chords (Example 3.13).

70 Example 3.13. “El fandango de candil,” mm. 125-130

In the sounds of the last two measures of the ending one could imagine the restless tapping of heels and frozen final bien parado pose. The Spanish cadence on the dominant and its asymmetric phrasing give the feeling of an open ending; the ending on A major serves as the relative major of the next piece, which is in f-sharp minor. In the opera, this scene concludes with shouting of ‘Ole!’ on the last accented note.

Example 3.14. “El fandango de candil,” mm. 176-177

71 4. “Quejas o la maja y el ruiseñor”

This piece, dedicated to his wife, Amparo, is the most popular piece of the entire suite and is often performed independently; it is also the only one with a key signature. The main theme of this piece is based on a folk song Granados heard sung by a young girl in the Valencian countryside. The song tells the story of a girl hearing the sorrowful song of a little bird in her garden. Granados was so moved by the girl’s singing of the beautiful song that he began to work on “Quejas” that same night.51 Granados transforms this melody through a series of variations, full of color and beauty; he concludes the piece with an elaborately embellished cadenza imitating the song of a nightingale.

Imagining the operatic scene would be very helpful to the pianist in portraying the mood and expressing the emotion of the maja. This song is the only aria in the opera Goyescas, and

Granados sets this music to words describing love’s fragility. The scene is set at night in a garden, where Rosario waits on a stone bench for her lover, Fernando. A nightingale sings near Rosario, and she responds to a nightingale with a song of her own. Jean-Aubry wrote:

In this piece [Quejas], which expresses the melancholy dreaming of the Maja evoking the memory of the absent Majo, while the nightingale sings in the night, Granados has succeeded in enclosing within the compass of a few pages for the pianoforte the whole eternal drama of love and emotion inspired by a Spanish landscape. . . . his confidence has a true greatness far beyond the limits of rules and technique.52

“Quejas” can be largely divided into four sections and a coda, though Granados gives the impression of continuity in integrating the thematic material. The formal structure can be seen in

Table 5.

51Riva, 19.

52Jean-Aubry, 536.

72 Table 5. Formal Structure of “Quejas o la maja y el ruiseñor”

Section Measures Key I 1-19 Folk Song f-sharp minor II 20-23 Var. 1 f-sharp minor 24-30 Var. 2 III 31-36 Var. 3 b minor 37-40 Var. 4 IV 41-45 Var. 5 f-sharp minor 46-59 Transition F-sharp major Coda 60-67 Return of folk song f-sharp minor 68-83 Cadenza C-sharp major

The first two measures are used as a theme for the following five variations, which are treated in

an improvisational manner. In each variation, Granados successfully constructs an ever-changing

arrangement of the theme and accompaniment, avoiding the monotony of repetition. Variations 1,

2, 3, and 4 are set in pairs, in which the second statement is more ornate and intense than the first

one: a pair of variations in f-sharp minor and a pair in b minor. This compositional technique is

also seen in other movements of the Goyescas. The two pairs of variations are similar in their accompaniment pattern and the chordal setting of the theme. Variation 5 is distinctively different in its textural setting, in that the tenor has the melody. Granados creates a haunting, beautiful work that evolves from a single theme; this is quite a contrast from the other movements of the

Goyescas, which make use of multiple themes.

Granados sets the simple folk song melody to beautiful harmonies. The melody is fully quoted, with the exception of mm. 9-11; the music in these measures acts as a kind of transition, shifting the tonality to A major and providing more emotion and color than a simple repetition of the previous phrase (which would be consistent with the original song).

73 Example 4.1a. Notation of folksong53

Example 4.1b. “Quejas o la maja y el ruiseñor,” mm. 1-19

53 Cited by J. Douglas Riva, “The Goyescas for Piano by Enrique Granados: A Critical Edition,” 19.

74 Rhythmic imitation

The folk song melody is set in a four-part texture, with each voice containing melodic and

harmonic interest. Motivic variants appear across voices – for instance, inversions of the soprano

melody appear at times in the tenor and bass. Also, the tenor borrows motives from the bass,

imitating the lower voice’s descending line. The fourth voice enters in mm. 2-3 with slightly

varied descending line. The inner lines and harmonies become complicated by the use of altered

notes, resulting in the interval of a minor second or third; these intervals evoke the mournful

feeling of lament.

The pianist should pay equal attention to voicing in the four separate lines; while the soprano is prominent within the texture, the other voices certainly have their own importance.

75 Practicing the soprano alone and then adding a line at a time in various combinations is

necessary to increase the awareness of the function of each voice. The music should flow

seamlessly, even while the keys are deeply pressed with flattened fingers. This method of playing is most suitable for achieving an extreme legato sound within a soft dynamic.

The entire movement is based on the melodic line in mm. 1-2, which is subsequently used as a theme for the five variations. The leap of a third in this melodic line is especially expressive; the C-sharp can be heard either as an appoggiatura or as the ninth in a sub-dominant chord. By taking a little more time to reach the C-sharp and playing it with a tenuto articulation, it becomes possible to express the emotion of the maja and her pain. The ornamental turn in m. 1 assists in building tension as well as expressing melancholic love; this tension is then released by the descending line.

The music of mm. 1-19 can be interpreted as one long phrase, though there are many sub- phrases that cadence on the dominant (C-sharp). Although “Quejas” is the only movement given a key signature, the actual tonic (f-sharp minor) is delayed until m. 20. This utilization of wandering cadences effectively reflects Rosario’s unsettled emotional state.

The inclusion of imitative lines between the tenor and soprano in mm. 9-11 is a very

expressive device; the high E in soprano (m. 9) can be emphasized in performance with some

creative spacing. The climax of this section is reached at mm. 10-11 and relieved by falling,

chromatic harmonies at m. 11. Subtle shading for tone color at m. 11 can be achieved by the use

of varied touches for each imitative line as well as sensitive pedaling.

The first variation begins with the original motive presented in block chords accompanied

by flowing arpeggiated sixteenths over a wide range; these chords must be played melodically, since they are still, at their heart, part of a song. The technical need for sliding thumbs in lower

76 voice of chords can equally serve to produce the intense expressiveness. There is a dialogue between the soprano and the other parts in mm. 21-22 that should be emphasized by the performer. The second variation can be seen as a kind of improvisatory repetition of the first variation. Its improvisational nature is represented by the irregular phrases, the extension through ornamentation, and the meter changes. The subtle use of a varied touch for rich harmonies and inner voices and a sensitive attention to pedaling can be essential in imbuing these variations with a Romantic atmosphere.

Example 4.2a. “Quejas o la maja y el ruiseñor,” Variation I, mm. 20-23

Example 4.2b. “Quejas o la maja y el ruiseñor,” Variation II, mm. 24-27

77 The third and fourth variations are presented in the subdominant key, b minor. The nightingale interrupts the maja’s song in m. 33; this interjection can be played with a great deal of liberty (Example 4.3a). The fourth variation creates a passionate climax, repeating the same rhythmic pattern three times and creating the effect of a shift into 3/2 meter in mm. 38-39 (Example 4.3b).

Example 4.3a. “Quejas o la maja y el ruiseñor,” Variation III, mm. 31-36

Example 4.3b. “Quejas o la maja y el ruiseñor,” Variation IV, mm. 37-40

78 The last variation is arranged into three staves, assigning each staff to the tenor melody,

bass, and accompaniment, respectively. In the opera, this passage is written for orchestra alone,

with the melody played by the cello. Despite the need to divide the melody between the hands

and change registers quickly, the pianist must always be aware of the melodic direction. Practice

concepts might include rehearsing the melody using only the fingers (in both hands) that play the theme, or practicing the entire melody with one hand alone; by listening to the difference in sound between these two methods, the pianist would be better equipped to the shape the melodic line within the full texture.

Example 4.4. “Quejas o la maja y el ruiseñor,” Variation V, mm. 41-45

79 The transition (mm. 46-59) is presented over an F-sharp pedal point. Each measure

begins with F-sharp in the bass but gradually unfolds over various changing harmonies (I–N7–I–

V7–I– V7. . .); these quick harmonic shifts combine to create a moment of inexpressible beauty.

The pianist should be devoted to playing the sixteenth-note figurations in the left hand evenly,

while the right hand chords should be treated as phrases and carefully shaped accordingly. Here

the grace notes on the second beat of each measure might be treated as a part of melodic line

rather than as ornaments, reflecting, along with the arpeggiation of the left hand, the maja’s

turbulent emotions.

Example 4.5. “Quejas o la maja y el ruiseñor,” mm. 46-49

The music of mm. 55-58 consists of musical phrases that represent the maja’s poignant

sighs of lamentation. The whole note rests, along with the fermata, at m. 59 provide an important

moment of silence before the music returns; the timing must be genuinely felt, even if the

counting is not perfectly accurate (Example 4.6).

80 Example 4.6. “Quejas o la maja y el ruiseñor,” mm. 55-67

The return of the folk song is heard in the same style as in the initial statement, with only slight changes; however, in performance, a warmer, fuller sonority is necessary for this return, one that emphasizes the bass and the imitative inner voice lines. This return should be treated as a retrospective. The half-note basses and tenutos in the soprano combine with the figurative pattern of eighth notes to create a feeling of agitation in 2/4 until finally reaching F-sharp minor, the home key.

Granados successfully combines the singing of the bird with the sorrowful song of the maja in this piece. The nightingale was a popular symbol of love and was frequently used by

Romantic poets and musicians. Granados portrays the nightingale’s singing and fluttering wings musically through the use of major- and minor- second trills, turns, rapid figurations (including repeated descending intervals of a third or fourth at the end of each), and registral displacement of an octave. All these aspects can be found together at the end of this piece (Example 4.7);

81 Granados indicates “cadenza, ad lib” for this section, which is written with frequent changes of meter and tempo. Most of the trills are played as double trills by Granados on his own recording of the piece, though they are notated as mere single trills in most editions. Besides this cadenza section, the dialogue between the maja and the nightingale is apparent throughout the piece: the folk tune is sung by the maja, while the nightingale interrupts with short warblings. Rosario’s last response follows the cadenza in mm. 79-80; the nightingale flies away, and the piece concludes with a C-sharp major chord, suggesting a Spanish dominant cadence. In the opera, music representing the nightingale is written for the flute. Though it is pedaled throughout, clear articulation and a light touch are necessary to create a delicate, brilliant sound. The pianist must consider the speed, dynamics, and momentum between each figuration in order to imitate the nightingale’s sound effectively.

Example 4.7. “Quejas o la maja y el ruiseñor,” mm. 68-84

This piece is the most improvisational of the suite and the only one with composed with monothematic material. Though there are frequent notated tempo changes, including accelerandos and rallentandos, the performer must be responsible for moving beyond

Granados’s markings and should accentuate the improvisatory nature of the piece. The challenge for the pianist, then, is to make this almost constantly flowing music sound completely natural.

83 5. “El amor y la muerte”

“El amor y la muerte,” subtitled “Ballad,” is primarily composed with themes from the

preceding pieces. These recurring themes are continuously transformed, expressing the emotions

of “love and death” in different ways. According to Granados, in program notes written for a

performance of the piano suite in Barcelona in 1915, “all of the themes of Goyescas are united in this piece …….three great emotions appear in the work: intense pain, nostalgic love, and the final tragedy – death…the final chords represent the reunification of happiness.”54

This piece is directly related to Goya’s Capricho No. 10, El amor y la muerte. In the opera, Rosario sings to the mortally wounded Fernando in Scene III as she enters, supporting

him as portrayed in the etching (Figure 23).

Figure 23. El amor y la muerte

54Xosé Aviñoa, 23.

84 The sharp contrast of light and dark in this etching is expressed in the music by sudden changes of dynamic and mood. Irregular phrases and frequent diminished seventh harmonies reflect the unsettled mood of agitation, grief, and desperation. The music unfolds as a confrontation between the gentle joys of love and the harsh reality of death.

“Amor” is written in a hybrid structure of sonata-form and three-part-form, though it does not exactly follow the formal structure of either: the second section is a kind of development, and the third is a return of the first section, occurring a half-step higher and extending the form with the themes placed in a reverse order, with an ‘Adagio’ section inserted between them (Table 6).

Table 6. Formal Structure of “El amor y la muerte”

Section Measures Thematic material Tonal Center

Intro. 1-14 1-11 Coloquio E & C b-flat

12-13 Quejas G-flat

14 Coloquio E b-flat I 15-49 15-21 Coloquio C & Requiebros 22-28 Theme A Coloquio E 29-30 Quejas 31-36 Coloquio C 37-44 Theme B Coloquio E, Quejas & Requiebros 45-47 Fandango G-flat 48-49 Bridge II 50-72 50-57 Coloquio E & C (Dev.) 58-63 64 Fandango 65-66 Quejas 67 Coloquio C 68-69 Requiebros 70-72 Quejas III 73-164 73-80 Theme B Coloquio E, b Quejas, & Requiebros 81-88 Fandango G

85 89-93 Bridge Requiebros 94-129 ‘Adagio’ Quejas & b-flat Requiebros 130-136 Quejas, Coloquio E & C 137-143 Coloquio E & C 144-147 Theme A Coloquio E G 148-154 Quejas 155-164 Requiebros Coda 165-208 165-173 Quejas (transition G & mm. 55-56) 174-177 Coloquio E 178-208 Recitative g

As seen in the table, the entire movement creates unity through repetition of Theme E from

“Coloquio,” along with its variant. Furthermore, thematic materials from the previous movements appear and undergo transformation throughout this work. The pianist might imagine the scene from the viewpoint of Rosario, who, as she holds the dying body of Fernando, remembers the lifetime of moments they have shared together.

The introduction begins with Theme E from “Coloquio.” However, it is set in a completely different mood, dark and foreboding, and played as a fortissimo octave in the low register of the piano, producing the feeling of severe pain conveyed by Goya’s etching with the same title. Granados notates this piece in dual meters (3/4 and 6/8) at the beginning and uses concurrent varying bar division, though he marks the section as a ‘recitative.’

Example 5.1. “El amor y la muerte,” mm. 1-5

86 In the opera, a melodic line made of broken chords is played by the English horn; this melody might be interpreted as a musical gesture representing a staggering Fernando or a mournful

Rosario. In m. 8, a viola solo takes over with a similar melodic line. Afterwards, the theme of

“Queja,” altered here, is played by the oboe and bassoon as Rosario comes on stage supporting a mortally wounded Fernando (Example 5.2). She makes a strenuous effort to reach the stone bench before singing of her sorrow and presentiments; sweeping arpeggiated passages with a chromatic descending progression in the bass follow this melancholic theme, providing the extreme contrast seen visually in the Goya’s etching above. The rising and falling contour across unstable harmonies evokes the sentiment of agitation, which corresponds with the emotional state of Rosario, who pours out her sorrow in this scene.

Example 5.2. “El amor y la muerte,” mm. 12-16

Rosario

The notes with stems facing down are used to denote the part of Rosario in the opera; therefore, the pianist should give more weight to these notes when playing these passages.

The agitation is relaxed momentarily as Theme E from “Coloquio” is presented in G-flat major, recalling the memory of happy moments between the lovers. In fact, this can be seen as the first theme of this piece (Example 5.3).

87 Example 5.3. “El amor y la muerte,” mm. 22-24

Theme B is a variant of Theme E from “Coloquio”; here it is presented in B-flat minor, which is related by thirds to Theme A. Because the theme is placed in the tenor in sixths over a pedal point B-flat, balance is necessary in creating four different levels of sound. In the opera the melody is played by the cello. Also, the melody is sung by Fernando with the text “Now I feel the struggle come”; this continues for two measures before the melody is taken by Rosario.

Example 5.4. “El amor y la muerte,” mm. 37-40

Coloquio

The second section, shorter than the outer sections and consisting of two themes, acts as the development. Initially, this music resembles the beginning of the piece, but the figuration of the right hand is inverted and played as octaves (Example 5.5a). Recurring themes from

“Fandango” and “Quejas” are juxtaposed in this section – here the theme from “Quejas” appears in the low bass with a dark and urgent sound (Example 5.5b).

88 Example 5.5a. “El amor y la muerte,” mm. 50-54

Example 5.5b. “El amor y la muerte,” mm. 62-66

Quejas

The third section features the return of the two themes, but in a reverse order. Theme B returns in B minor, a half step higher than the respective key of the first section. The accompaniment figuration, which recalls the first theme of “Requiebros,” might be played as an answering gesture to Theme B (Example 5.6).

89 Example 5.6. “El amor y la muerte,” mm. 73-76

Coloquio

Coloquio Requiebros 75

Requiebros

Another example of thematic transformation appears in mm. 81-87 (Example 5.7a). A

theme from “Fandango” (Example 5.7b), initially set as a passionate fortissimo passage, is transformed to an atmospheric mood as if to suggest Fernando’s memories of the happy times spent with Rosario.

Example 5.7a. “El amor y la muerte,” mm. 81-86

90 Example 5.7b. “El fandango de candil,” mm. 85-88

One of the most beautiful moments in the entire suite is the nocturne-like section of

“Amor.” Within larger divisions, there is a great deal of improvisational freedom and mood changes; the extremes in dynamics, register, texture, harmony, rhythm, and melody dramatically parallel the expressions of emotion exchanged between Rosario and her mortally wounded lover,

Fernando. In the opera, this section is the last farewell for Fernando and Rosario. Granados ingeniously incorporates the lyrical theme of “Quejas” and the first theme of “Requiebros,” accompanying these melodies with low bass notes and syncopated chords. A long expressive line of music flows against subtle harmonic progressions; thoughtful coloration of this harmonic motion is necessary to express the sentiment of the music in this section – the darkness of fate, as well as its beautiful sadness. The pianist should be sensitive to the sound and apply the pedal with care (Example 5.8).

91 Example 5.8. “El amor y la muerte,” mm. 97-108 Quejas

Requiebros

The work ends dramatically with a recitative and the death of the majo, which is

portrayed by the diminuendo effect that is achieved from the motion of a poignant E-flat

German-sixth harmony to a C-sharp diminished chord. After a beat of silence, the death of the

majo is symbolized by tolling chords meant to represent funeral bells; this effect “as cunningly

calculated for piano as the bell effects in Boris Godunov are for orchestra.”55 In the opera, a tam-

tam is added in every other measure for the sound of bells. To create the fading away effect of bells one should make a plan for distributing the weight on every chord, listening to the sound resonate up to the moment the next one is struck and thus creating a seamless quality to the passage. The performer should listen until the last G has completely faded while remaining

55Ernest Newman, “Granados and His Goyescas, 1916.” in Testament of Music. Edited by Herbert Van Thal (New York: Alfred A. Knopf, 1963), 194.

92 perfectly motionless. Even as the remaining sound disappears completely from the hall, the

performer is advised to take a bit more time, emphasizing the stillness that is emblematic of death.

Example 5.9. “El amor y la muerte,” mm. 176-208

This piece might present the most difficult problems of interpretation; it is composed

with recurring themes that are arranged in many short, successively changing sections and that

are used not only as melodic but as accompaniment as well. Cyclic returns of transformed

thematic materials might be interpreted as occurring within a greater improvisational stream. The

pianist should try to integrate all compositional aspects together as one continuous story; by

imagining the characters, either maja and majo as depicted in Goya’s etching or Fernando and

Rosario from the opera, and singing the songs from their emotional standpoint, the pianist would

be well on his way to connecting the diverse sections into one unified scene.

93 6. “Epílogo: Serenata del espectro”

The subtitle of this piece implies that Fernando returns from the dead to serenade his

maja with the guitar. This music contains the interesting combination of strong passion and witty

expression. Both the subject of the ghost and its expressions may originate from Goya’s art;

Granados may have been inspired by the darker expressions present in his later works. One

seminal drawing by Goya, Nun Frightened by a Ghost, may be helpful in arousing a performer’s

imagination (Figure 24).

Figure 24. Nun Frightened by a Ghost, 1819

This piece is constructed based on the alternation of instrumental refrain and song (Table 7).

Table 7. Formal Structure of “Epílogo: Serenata del espectro”

Section Measures Thematic Material Tonal Center 1 – 8 Guitar prelude E Refrain 9 -22 23 - 38 Guitar Interlude

94 39-46 Theme G 47-49 Coloquio 50-51 Fandango 52-62 Verse 1 63-67 Coloquio 68-74 Theme C 75-78 Coloquio 79-80 Fandango 87-118 Guitar Interlude E Refrain 119-120 Coloquio 121-123 124-135 Theme G 136-142 Coloquio Dies Irae F, b-flat 143-166 (151-154) Coloquio (162-166) Coloquio 167-168 bridge Verse 2 169-171 Coloquio 172-173 174-178 Coloquio 179-180 181-185 Coloquio/ Requiebros 186-192 193-194 Coloquio Refrain 195-203 E 204-230 Coloquio E Verse 3 230-239 241-243 Coloquio E 244 Requiebros 245-249 Coloquio Coda 250-254 Amor 255-256 Coloquio 257-262 Guitar Postlude E

The refrain, based on chromatic ascending and descending progressions from E to A-flat, appears three times in varied forms; each iteration is set in E major, maintaining the basic framework. As in “Fandango,” this refrain plays the role of an instrumental interlude between songs. Granados’s marking “misterios,” along with the prevailing chromatic progressions, are likely meant to evoke the image of the ghost (Example 6.1).

95 Example 6.1. “Epílogo: Serenata del espectro,” mm. 1-14

From the beginning, the music is full of guitarlike imitations: two plucked notes and a strummed chord are present in each measure. The strumming guitar effect is more prominent in mm. 107-

117, along with the chromatic bass progression, which is carried over from the opening prelude.

Example 6.2. “Epílogo: Serenata del espectro,” mm. 107-114

The theme is not lyrical but is rather chromatic and angular, atypical of Granados’s melodic style (Example 6.3a). This chromatic theme reappears with triplet figurations in a fortissimo dynamic accompanying the melody, which is in the tenor (Example 6.3b). Although this recurring theme is played in fortissimo, it should be as balanced and shaped as in the first

96 appearance. This piece is comparatively simple, with a thinner texture than the other movements of the Goyescas. The tempo is relatively steady, and pedaling is only infrequently necessary.

Example 6.3a. “Epílogo: Serenata del espectro,” mm. 39-45

Example 6.3b. “Epílogo: Serenata del espectro,” mm. 124-131

124

128

As seen in Table 7, many themes from previous movements appear as fragments and short phrases throughout this final piece. Granados interweaves beautiful melodies from the other movements along with grotesque and witty music. The performer should locate these themes within the texture and play them as fleeting memories from the ghost of Fernando as he recalls his time together with Rosario (Example 6.4a, 6.4b, 6.4c, and 6.4d).

97 Example 6.4a. “Epílogo: Serenata del espectro,” mm. 47-50

Coloquio Theme E

Example 6.4b. “Epílogo: Serenata del espectro,” mm. 169-172

Example 6.4c. “Epílogo: Serenata del espectro,” mm. 175-178

175 Coloquio

Example 6.4d. “Epílogo: Serenata del espectro,” mm. 183-185

183

98 With the exception of the recurrent thematic materials, the performer might imagine the rest of the music as evoking various actions by Fernando – his guitar playing, his moving around his lover, or his hovering in the air. Especially the upward staccato figuration with mordents seems to suggest Fernando’s ascent to heaven, despite his wishes to remain with Rosario. This figuration is generally inserted between passionate melodies, as though acting as a disruption for

Fernando’s memories.

Example 6.5a. “Epílogo: Serenata del espectro,” mm. 59-64

Example 6.5b. “Epílogo: Serenata del espectro,” mm. 177-184

99 The most interesting feature of this piece appears in the section containing a variation on

Dies Irae; the Dies Irae chant has often been “incorporated into program compositions having death or damnation as their subject,”56 such as in Liszt’s Totentanz and Berlioz’s Symphonie fantastique. Granados deals with the Dies Irae theme in variation form; the melody appears in F-

Dorian mode in the tenor voice and is accompanied by the bell-like broken octaves that simultaneously outline a passage from m. 2 of “Amor.” Balance in the left hand is important since this single hand plays a dotted rhythm melody along with bass notes and chords. Smooth phrasing can be achieved here through melodic shaping and the use of different dynamic levels in the four parts.

Example 6.6. “Epílogo: Serenata del espectro,” mm. 143-150

Amor

Dies Irae

147

The final refrain begins with an altered version of the guitar prelude, Granados given these figurations a more sustained, pedaled sound. The copla theme of “Coloquio” is directly quoted again; this passage seems to suggest the ghost of Fernando remembering an amorous

56Apel, 234.

100 conversation with Rosario and is accompanied by arpeggiated figurations with a pedal point on E

(Example 6.7).

Example 6.7. “Epílogo: Serenata del espectro,” mm. 204-210

Coloquio

The coda also consists of many fragments from the other movements, including Theme E

from “Coloquio” and a passage and the bell-like chords from “Amor.” After the expressive

statement of Theme F from “Coloquio,” the bells ring, signaling the time of departure. The last three measures spell out the open string tones of the guitar, with the indication “Le spectre

disparaît pinçant les cordes de sa guitare (the ghost disappears plucking the strings of his

guitar).” This indication, along with the previous soaring figuration, provides a picturesque

image for the performer to utilize.

Example 6.8. “Epílogo: Serenata del espectro,” mm. 249-262

101 The pianist may face interpretive difficulties due to “Epilogo” being interspersed with

much-fragmented material from the previous movements. The performer should try to achieve

unity through a constant maintenance of Spanish dance characteristics, especially the rhythm.

Other distinguishing features include weak-beat accents, hemiola, and duple divisions within

triple meter. Although each returning thematic fragment comes with its own individual song style, the pianist should take care not to use too much rubato. Some other technical difficulties

arise from the unique texture, which requires the performer to play sustained and detached notes

simultaneously; practice at a slower tempo will facilitate coordination of these movements

between the hands.

102 Conclusion

The author hopes that pianists can form their own ideas from considering the many varied aspects of Goyescas. The pianist might use Goya’s paintings or etchings as a mental tool,

creating musical expressions during performance that suggest images, moods, or characters.

Imagining the people and scenes that inspired Granados in composing the piano suite Goyescas,

as well as the opera by the same name, is indispensable for helping establish the performer’s own

interpretation. Conveying the story and sound palette from the opera Goyescas is also useful in

uniting the entire suite as one great drama; furthermore, assimilating the traits of Spanish dances,

songs, and the sound of the guitar within the musical context will help incorporate exotic and

passionate colors into the music.

The pianist’s treatment of the many recurring themes throughout Goyescas is important

practically – as well as mentally – in performing the suite. Recurring themes serve as an

important unifying device in Goyescas; pianists should perceive and communicate the subtle

changes of these thematic transformations during their performance. Indeed, Granados endows

the recurring themes with various emotions – intimate, dreamy, agitated, or tragic – through

changing the theme itself, the accompaniment, the texture, or through displacement. Beyond the

technical difficulties of the work, other important issues in performing Goyescas deal with the

clarity of the voicing as well as the various tone colors, which can be managed with skillful use

of the pedal. The multi-voice texture can be clarified if the performer imagines the distance

between the individual voices as corresponding to perspective presented in many of Goya's

works - that is, relating the space separating these voices to the distance between components in

the paintings (such as between characters, trees, or even the sky). Tone is one means of

103 expression for the pianist, just as paint, color, and light are for the painter; variety in tone can be achieved through subtle use of pedaling.

Whether the listener is ultimately aware of it or not, complete adherence to the composer’s intention for the work is the duty of the performer; every musical pursuit of the pianist must arise from a desire to closely follow the composer’s intention. Broad knowledge of the background and thorough study of Goyescas might lead the performer to make proper decisions to interpret the music. In the author’s view, a rich imagination is the most helpful tool in allowing the performer to play with confidence. By approaching the score with an open mind, the pianist will be able to emphasize the close interrelation of the music and the art that inspired it, a unique quality of Goyescas that should be brought out in performance.

104 Bibliography

Books, Reviews, and Articles

Apel, Willi. Harvard Dictionary of Music. 2nd rev. ed. The Belknap Press of Harvard University Press: Massachusetts, 1969.

Aviñoa, Xosé. “Introduction to Goyescas.” documentation and text by Douglas Riva, In Integral para Piano/ Enrique Granados, Goyescas 2, vol. 4, 18-30. Barcelona: Editorial de Musica Boileau, 2001.

Badia, Conchita. “Granados: A Personal Portrait.” Recorded Sound 77 (January 1980): 57-61.

Blier, Steven. “The Great Granados.” Opera News 70, no. 11 (May 2006): 46-50.

Chase, Gilbert. The Music of Spain. 2nd ed. New York: Dover Publications, 1959.

Clark, Walter Aaron. Enrique Granados: Poet of the Piano. New York: Oxford University Press, 2006.

De Voto, Daniel. “Spain.” In Music in the Modern Age, ed. F. W. Sternfeld, 309-320. New York: Weinfeld & Nicolson, 1973.

Elder, Dean. “To Alicia de Larrocha, Music is the Expression of Humanity: An Interview with the Spanish Virtuosa.” Clavier 10 (January 1971): 16-21.

Esteban, Julio. “Master Lesson on a Granados Dance,” Clavier 6 (October 1967): 39-40.

Ferrari, Enrique Lafuente. Goya: His Complete Etchings, Aquatints, and Lithographs. Trans. by Raymond Rudorff. New York: Harry N. Abrams, Inc., n.d., 1962.

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Granados de Carreras, Natalia. “Goyescas and Enrique Granados.” In Granados and Goyescas: The Catalogue of Exhibition Honoring Enrique Granados and the American Premiere of Goyescas, 8-10. Boston: Boston Athenaeum, 1982.

Granados, Enrique. Apuntes y temas para mis obras. (microfiche) The Pierpont Morgan Library, New York, NY.

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Hamilton, Arthur. A Study of Spanish Manners 1750-1800: from The Plays of Ramón de la Cruz. University of Illinois Press, 1926.

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______. “Enrique Granados and Modern Technique.” Performance Practice Review 6, no.1 (Spring 1993): 89-94.

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______. Goya: The Origins of the Modern Temper in Arts. New York: Universe Books, 1979.

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______. “From the Librettist of Goyescas,” The New York Times (February 27th, 1916): 6.

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107 1915): 3.

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______. “Guitar Effects in Spanish Piano Music.” Piano & Keyboard (May–June 1996): 33-37.

______. “The Piano Music of Spain.” Piano Quarterly 25 (Summer 1977): 45-48.

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______. “Enrique Granados: Composer, Performer, and Teacher.” Catalan Review 1, Issue 2 (1986): 101-114.

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Salvador, Miguel. “The Piano Suite Goyescas by Enrique Granados: An Analytical Study.” DMA thesis, University of Miami, 1988.

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Valls, Manuel. Liner Notes to Granados: Goyescas. Alicia de Larrocha, Pianist. Decca DD 1982, 1984. Compact Disc.

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108 Manual. With Carola Goya. Hightstown, NJ: Princeton Book Co., 2003.

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Scores

Granados, Enrique. Goyescas: an Opera in Three Tableaux. With libretto by Fernando Periquet. Translated by James Weldon Johnson. New York: Schirmer, 1915.

______. Goyescas: an Opera in Three Tableaux, Copy of unpublished manuscript of orchestral score of the opera, Revised Version, provided by Rental Performance Department, New York: G. Schirmer, 1991.

______. Integral para Piano/ Enrique Granados, Goyescas 1, vol. 3. Barcelona: Editorial de Musica Boileau, 2001.

______. Integral para Piano/ Enrique Granados, Goyescas 2, vol. 4. Barcelona: Editorial de Musica Boileau, 2001.

______. Integral para Piano/ Enrique Granados, Pedagogical Works, vol. 8. Barcelona: Editorial de Musica Boileau, 2001.

______. Tonadillas for Voice and Piano. International Music Company: New York, 1952.

Sound Recordings

Granados, Enrique. The Catalan Piano Tradition. performed by Enrique Granados, ca. 1912. VAI Audio, 1992.

Granados, Enrique. The Composer Plays. “El Pelele, Quejas ó la Maja y el Ruiseñor from Goyescas,” performed by Enrique Granados. Nimbus Records, 1997.

Granados, Enrique. Goyescas, performed by Alicia de Larrocha. Decca DD1982, 1977.

Granados, Enrique. Legendary Masters of the Piano, performed by Enrique Granados, recorded from Welte player-piano rolls to Steinway concert grand no. 261. Classics Record Library, winter 1962-63.

109 Granados, Enrique. Instruments of the Past: the Reproducing Piano. “El Pelele, Quejas ó la Maja y el Ruiseñor, from Goyescas,” performed by Enrique Granados, recorded from Duo-Art reproducing piano rolls; 7th-14th works encoded on rolls in 1916. Allegro Imports, 1990.

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