Also available by Martin Jones ISAAC ALBENIZ (1860-1909) Martin Jones, piano DISC 1 64.57 1 Champagne Waltz 5.06 2 Estudio Impromptu op 56 (1886) 5.03

Sonata no. 5 Op. 82 (1887) 18.51 3 I Allegro non troppo 7.33 4 II Minuetto del Gallo. Allegro assai 2.47 5 III Reverie 5.54 6 IV Allegro 2.37 NI5818 3 CD Set NI5851 NI5889 2 CD Set NI585849 Suite espanola op. 47 (1882-89) 35.57 7 I Granada (Serenata) 4.40 8 II Cataluña (Corranda) 2.20 9 III Sevilla (Sevillanas) 4.36 10 IV Cádiz (Canción) 5.02 11 V Asturias (Leyenda) 6.59 12 VI Aragón (Fantasia) 4.34 13 VII Castilla (Seguidillas) 2.52 14 VIII Cuba (Caprichio) 4.54

2 NI1711 11 DISC 2 54.38 1 Rapsodia Espanola op. 70 (1886) 12.48 2 Pavana op. 83 Muy Facil 6.21 3 Tango from 6 Hojas de Album Op. 165 3.21

Cantos d'espana op. 232 (1892-98) 15.12 4 II Orientale 3.33 5 III Sous le palmier 4.35 6 IV Córdoba 7.04

7 La vega from The Alhambra, Suite pour le piano (1898) 16.56

DISC 3 52.19 Espana Souvenirs (1899) 11.51 1 I Preludio 7.44 2 II Asturias 4.07

Iberia (1909-9) Book 1 19.16 3 I Evocacíon 6.36 4 II El puerto 4.03 5 III El Corpus en Sevilla 8.37

Book 2 21.12 6 I Rondeña 6.51 7 II Almería 9.17 8 III Triana 5.04

10 NI1711 3 DISC 4 62.31 Martin Jones has been one of Britain’s most highly regarded solo pianists since first Iberia (1909-9) coming to international attention in 1968 when he received the Dame Myra Hess Award. The same year he made his London debut at the Queen Elizabeth Hall and his New York Book 3 20.57 debut at Carnegie Hall, and ever since has been in demand for recitals and concerto 1 I El Albaicín 8.06 performances on both sides of the Atlantic. 2 II El polo 6.21 3 III Lavapiés 6.30 He is a prolific recording artist and his many discs for Nimbus Records include the complete solo piano works of Szymanowski which was voted Best Instrumental Book 4 21.06 Recording of 1996 by the Spanish magazine ‘CD Compact’. He has recorded several 4 I Málaga 4.58 Spanish piano masters and Volume 2 of this series received the 2000 Classical Indie 5 II Jerez 10.22 Award from the Association for Independent Music in the USA. The soundtrack of the 6 III Eritaña 5.46 film ‘Howards End’ features Martin Jones performing Grainger’s Bridal Lullaby and Mock Morris. 7 Azulejos (No. 1 – Prelude) completed by Martin Jones 12.16 His performance repertoire, as well as encompassing most of the standard works for piano, 8 Navarra completed by Martin Jones 8.02 also includes unusual concertos such as the Busoni Concerto, which he performed with the BBC Symphony Orchestra and Norman Del Mar. He has also championed the music of British composers and has performed concertos by Britten, Benjamin, Mathias, McCabe and Lambert. He gave the first performance of the revised version of Alun Hoddinott’s Third Concerto at the 1974 BBC Promenade Concerts, and recorded Hoddinott’s Second Concerto with Andrew Davis and the Royal Philharmonic Orchestra for Decca. Recorded by Nimbus Records at the Concert Hall of the Nimbus Foundation Wyastone Leys, Monmouth UK In the USA he has served as jury member on a number of international piano competitions, March/April 1995 : Disc 1 tracks 7-14 Disc 2 tracks 3, 7 Disc 3 tracks 1-8 Disc 4 tracks 1-8 c 1999 Wyastone Estate Limited 1999 Wyastone Estate Limited and performed in New York, Washington, Florida, Tennessee, Louisiana, Texas, Utah, All other tracks September 2000 c 2020 Wyastone Estate Limited Wisconsin and California. In Los Angeles he gave a recital as part of the 1994 UK/LA This release © 2020 Wyastone Estate Limited Celebration of British Arts, which was broadcast live on KUSC Radio. He gave the world Cover photo : Josep Mª Tamburini Dalmau (1856 - 1932) Young Girl with a Hat (1909) premiere of Ravelled Threads by American composer, Wendy Carlos in New York. In www.wyastone.co.uk 1996 he became the first major British artist to give a solo recital in Ekaterinburg, Russia.

4 NI1711 9 is evident in the increased density of texture, the final book especially demanding of the Isaac Albéniz (1860-1909) pianist. El Albaicín depicts the gypsy quarter of Granada and was particularly admired by Debussy; El polo is an Andalucian dance. Lavapiés is an area of Madrid - and is in fact Enrique Granados and Isaac Albéniz, the two pre-eminent Spanish composers of their the only non-Andalucian movement of the suite. The fourth book consists of Málaga, generation, have much in common. Both prolific composers, especially of piano music, appropriately represented by a malagueña; Jerez, a movement which depicts the delicate they were also both brilliant improvisers - a friend of Granados said that "he could go on architecture of the region, and Eritaña - a drinking hole outside Seville - which provides for hours". They are also both chiefly known for a single piece of music – in Granados's a spirited, swirling finale to the work. case, the Goyescas; in Albéniz's, his collection Iberia. Both received lessons from the great Spanish musicologist Felipe Pedrell, who infused them with his theories and hopes A further movement, Navarra, was composed by Albéniz to form part of the fourth book for the resuscitation of an indigenous national style of music. The Spanish composer Juan of Iberia, but he considered it 'plebeian', and substituted Jerez; it was left unfinished, and Crisóstomo Arriaga, in the early part of the nineteenth century, had approached a uniquely has here been completed by Martin Jones. Albéniz started to orchestrate the suite, but was Spanish style, although his orchestral and chamber music for the most part followed the not satisfied with the results. He asked the violinist and composer Enrique Fernández example of Haydn. It was left to Pedrell, his pupils, and his fellow musicologist and Arbós to complete the task for him, and Arbós eventually scored Triana, El Albaicin and composer Francisco Asenjo Barbieri, to truly introduce the new national style. And our Navarra. The remainder of the suite remained in piano score only, until Albéniz's heirs perception of what constitutes Spanish music from the late-nineteenth century and the approached the Spanish-American composer Carlos Surinach, who orchestrated the rest early twentieth stems from the two major sets of pieces produced by Granados and of the suite in 1954. Albéniz – although each one wrote a great deal more piano music.

Albéniz's final work, Azulejos, was left unfinished at his death. It was completed in 1911 Isaac Manuel Francisco Albéniz was born in Camprodón, Gerona, and was a prodigious by Granados, but is performed here by Martin Jones in his own completion. performer as a child. His sister taught him the piano from the age of three-and-a-half; he made his concert début at the Mozartean age of five, at Barcelona's Teatro Romea, and © 1999 David Andrew Threasher, rev. Nimbus 2020 was taken to Paris to study with Antoine Marmontel at the age of seven. He passed the entrance exam to the Paris Conservatoire, but was denied entrance because of his age. Instead, in another Mozartean parallel, he was taken around Spain by his father, giving recitals with his sister.

The family settled in Madrid when Isaac was 10, and he studied at the Escuela Nacional de Música y Declamación. However, he had itchy feet and constantly absconded, only to be found performing to rapt audiences in some provincial hall or other. He later studied in Leipzig and Brussels, and travelled to Budapest with the intention of studying with Liszt, although this seems not to have come to fruition. He returned to Barcelona to study with

8 NI1711 5 Pedrell, and started giving piano lessons, marrying one of his pupils, Rosa Jordana, in bringing to mind the short character pieces of French keyboard composers Claude 1886. In 1889 he made a successful début in London, and returned again and again to the Balbastre (1724-1799), Jean-Phillipe Rameau (1683-1764) and Albéniz’s unrelated city. Although primarily a composer of piano music, he made his name in London as a Spanish forebear Mateo Albéniz (d.1831) dramatic composer, writing a number of operas for the Lyric and Prince of Wales Theatres. The suite Cantos d’espana was first published as a set of three short pieces (Prelude, Like his younger contemporary Granados, Albéniz would eventually draw his musical Orientale and Sous le palmier) in 1892. Two pieces were added to the set in the 1898 improvisation from his native land. La vega, composed around 1898 for the suite The edition (Córdoba and Seguidillas). Despite its name Orientale is based firmly on Alhambra, represents the first fruits of his maturity, and foreshadows the brilliance of Andalusian dance themes. In Sous le palmier (Under the Palm Tree) Albéniz’s marriage Iberia. But up to the late 1880s Albéniz musical language owed more to the earlier of a gentle liturgical melody with the secular rhythms of a tango creates a haunting sense Romantic models of Schubert, Chopin and Liszt. The easy charm and pastiche character of something incomplete, or perhaps incapable of being reconciled. Legendary Córdoba, of the ‘Champagne Waltz’ and the rapid pattern figuration of the Esudio Impromptu, a city rich in both Christian and Moorish cultures is presented in strongly contrasted complete with Chopinesque slow section are inventive enough, though entirely unrecog- episodes. nisable as the work of Albéniz as we have come to know him. This equally true of the 5th Piano Sonata; ambitious in scale and demonstrating the twenty-seven year old composers Unlike Granados, Albéniz left no commercial recordings of his own playing, but from growing confidence. The formal structure – a substantial first and slow movement, contemporary reports and the evidence of his published music he was an astonishing balanced by short Scherzo and Finale – brings to mind the proportions of Chopin’s B virtuoso. However, a work such as Iberia, while no walk in the park even for the most minor sonata. And, perhaps in the last movement we might allow the influence of Scarlatti. accomplished pianists (Albéniz himself apparently considered destroying the set, deeming Albéniz is thought to have composed 7 Piano Sonatas (perhaps more), but only Nos 3, 4 it unplayable), does not rely on conspicuous virtuosity for its own sake. His piano & 5 have survived complete. technique is described in The New Grove Dictionary as 'orientated towards transcendental effects of post-Lisztian virtuosity', and in his later works he relies on the colouristic The Suite española, composed a couple of years earlier than La vega, is a collection of abilities of the piano and his own solid technique and unique style. impressions of various places in Spain, expressed in the dance- and song-forms indigenous to the respective areas. The two movements presented here from the short suite Iberia comprises four books of 'impressions' of Spain, concentrating on Andalucía - only España were composed around 1899, and were also intended for The Alhambra. El Corpus Christi en Sevilla is a programmatic representation, its religious procession drawing nearer and increasing in excitement, before night falls on the celebrations, and With the Rapsodia Espanola Albeniz has clearly begun to grasp a unique ‘Spanish’ style. part of the hymn ‘Tantum ergo’ is heard. The first two books are however the most The slow introduction establishes a clear Iberian mood, which the composer generally impressionistic: El puerto depicting the fishing village of Santa María on the Bay of holds on to as the work becomes more dramatic. One has the sense that Albéniz is just Cádiz; Rondeña and Triana both named after places (Ronda, a town divided by a gorge; managing to hold back the temptations of Lisztian virtuoso decoration from Triana, a suburb of Seville). It was after a performance of Triana by the virtuoso Joaquin overwhelming his new voice. The ‘very easy’ Pavana impresses by its quiet restraint, Malats that Albéniz started work on the second pair of books of Iberia. Malats's influence

6 NI1711 7 Pedrell, and started giving piano lessons, marrying one of his pupils, Rosa Jordana, in bringing to mind the short character pieces of French keyboard composers Claude 1886. In 1889 he made a successful début in London, and returned again and again to the Balbastre (1724-1799), Jean-Phillipe Rameau (1683-1764) and Albéniz’s unrelated city. Although primarily a composer of piano music, he made his name in London as a Spanish forebear Mateo Albéniz (d.1831) dramatic composer, writing a number of operas for the Lyric and Prince of Wales Theatres. The suite Cantos d’espana was first published as a set of three short pieces (Prelude, Like his younger contemporary Granados, Albéniz would eventually draw his musical Orientale and Sous le palmier) in 1892. Two pieces were added to the set in the 1898 improvisation from his native land. La vega, composed around 1898 for the suite The edition (Córdoba and Seguidillas). Despite its name Orientale is based firmly on Alhambra, represents the first fruits of his maturity, and foreshadows the brilliance of Andalusian dance themes. In Sous le palmier (Under the Palm Tree) Albéniz’s marriage Iberia. But up to the late 1880s Albéniz musical language owed more to the earlier of a gentle liturgical melody with the secular rhythms of a tango creates a haunting sense Romantic models of Schubert, Chopin and Liszt. The easy charm and pastiche character of something incomplete, or perhaps incapable of being reconciled. Legendary Córdoba, of the ‘Champagne Waltz’ and the rapid pattern figuration of the Esudio Impromptu, a city rich in both Christian and Moorish cultures is presented in strongly contrasted complete with Chopinesque slow section are inventive enough, though entirely unrecog- episodes. nisable as the work of Albéniz as we have come to know him. This equally true of the 5th Piano Sonata; ambitious in scale and demonstrating the twenty-seven year old composers Unlike Granados, Albéniz left no commercial recordings of his own playing, but from growing confidence. The formal structure – a substantial first and slow movement, contemporary reports and the evidence of his published music he was an astonishing balanced by short Scherzo and Finale – brings to mind the proportions of Chopin’s B virtuoso. However, a work such as Iberia, while no walk in the park even for the most minor sonata. And, perhaps in the last movement we might allow the influence of Scarlatti. accomplished pianists (Albéniz himself apparently considered destroying the set, deeming Albéniz is thought to have composed 7 Piano Sonatas (perhaps more), but only Nos 3, 4 it unplayable), does not rely on conspicuous virtuosity for its own sake. His piano & 5 have survived complete. technique is described in The New Grove Dictionary as 'orientated towards transcendental effects of post-Lisztian virtuosity', and in his later works he relies on the colouristic The Suite española, composed a couple of years earlier than La vega, is a collection of abilities of the piano and his own solid technique and unique style. impressions of various places in Spain, expressed in the dance- and song-forms indigenous to the respective areas. The two movements presented here from the short suite Iberia comprises four books of 'impressions' of Spain, concentrating on Andalucía - only España were composed around 1899, and were also intended for The Alhambra. El Corpus Christi en Sevilla is a programmatic representation, its religious procession drawing nearer and increasing in excitement, before night falls on the celebrations, and With the Rapsodia Espanola Albeniz has clearly begun to grasp a unique ‘Spanish’ style. part of the hymn ‘Tantum ergo’ is heard. The first two books are however the most The slow introduction establishes a clear Iberian mood, which the composer generally impressionistic: El puerto depicting the fishing village of Santa María on the Bay of holds on to as the work becomes more dramatic. One has the sense that Albéniz is just Cádiz; Rondeña and Triana both named after places (Ronda, a town divided by a gorge; managing to hold back the temptations of Lisztian virtuoso decoration from Triana, a suburb of Seville). It was after a performance of Triana by the virtuoso Joaquin overwhelming his new voice. The ‘very easy’ Pavana impresses by its quiet restraint, Malats that Albéniz started work on the second pair of books of Iberia. Malats's influence

6 NI1711 7 is evident in the increased density of texture, the final book especially demanding of the Isaac Albéniz (1860-1909) pianist. El Albaicín depicts the gypsy quarter of Granada and was particularly admired by Debussy; El polo is an Andalucian dance. Lavapiés is an area of Madrid - and is in fact Enrique Granados and Isaac Albéniz, the two pre-eminent Spanish composers of their the only non-Andalucian movement of the suite. The fourth book consists of Málaga, generation, have much in common. Both prolific composers, especially of piano music, appropriately represented by a malagueña; Jerez, a movement which depicts the delicate they were also both brilliant improvisers - a friend of Granados said that "he could go on architecture of the region, and Eritaña - a drinking hole outside Seville - which provides for hours". They are also both chiefly known for a single piece of music – in Granados's a spirited, swirling finale to the work. case, the Goyescas; in Albéniz's, his collection Iberia. Both received lessons from the great Spanish musicologist Felipe Pedrell, who infused them with his theories and hopes A further movement, Navarra, was composed by Albéniz to form part of the fourth book for the resuscitation of an indigenous national style of music. The Spanish composer Juan of Iberia, but he considered it 'plebeian', and substituted Jerez; it was left unfinished, and Crisóstomo Arriaga, in the early part of the nineteenth century, had approached a uniquely has here been completed by Martin Jones. Albéniz started to orchestrate the suite, but was Spanish style, although his orchestral and chamber music for the most part followed the not satisfied with the results. He asked the violinist and composer Enrique Fernández example of Haydn. It was left to Pedrell, his pupils, and his fellow musicologist and Arbós to complete the task for him, and Arbós eventually scored Triana, El Albaicin and composer Francisco Asenjo Barbieri, to truly introduce the new national style. And our Navarra. The remainder of the suite remained in piano score only, until Albéniz's heirs perception of what constitutes Spanish music from the late-nineteenth century and the approached the Spanish-American composer Carlos Surinach, who orchestrated the rest early twentieth stems from the two major sets of pieces produced by Granados and of the suite in 1954. Albéniz – although each one wrote a great deal more piano music.

Albéniz's final work, Azulejos, was left unfinished at his death. It was completed in 1911 Isaac Manuel Francisco Albéniz was born in Camprodón, Gerona, and was a prodigious by Granados, but is performed here by Martin Jones in his own completion. performer as a child. His sister taught him the piano from the age of three-and-a-half; he made his concert début at the Mozartean age of five, at Barcelona's Teatro Romea, and © 1999 David Andrew Threasher, rev. Nimbus 2020 was taken to Paris to study with Antoine Marmontel at the age of seven. He passed the entrance exam to the Paris Conservatoire, but was denied entrance because of his age. Instead, in another Mozartean parallel, he was taken around Spain by his father, giving recitals with his sister.

The family settled in Madrid when Isaac was 10, and he studied at the Escuela Nacional de Música y Declamación. However, he had itchy feet and constantly absconded, only to be found performing to rapt audiences in some provincial hall or other. He later studied in Leipzig and Brussels, and travelled to Budapest with the intention of studying with Liszt, although this seems not to have come to fruition. He returned to Barcelona to study with

8 NI1711 5 DISC 4 62.31 Martin Jones has been one of Britain’s most highly regarded solo pianists since first Iberia (1909-9) coming to international attention in 1968 when he received the Dame Myra Hess Award. The same year he made his London debut at the Queen Elizabeth Hall and his New York Book 3 20.57 debut at Carnegie Hall, and ever since has been in demand for recitals and concerto 1 I El Albaicín 8.06 performances on both sides of the Atlantic. 2 II El polo 6.21 3 III Lavapiés 6.30 He is a prolific recording artist and his many discs for Nimbus Records include the complete solo piano works of Szymanowski which was voted Best Instrumental Book 4 21.06 Recording of 1996 by the Spanish magazine ‘CD Compact’. He has recorded several 4 I Málaga 4.58 Spanish piano masters and Volume 2 of this series received the 2000 Classical Indie 5 II Jerez 10.22 Award from the Association for Independent Music in the USA. The soundtrack of the 6 III Eritaña 5.46 film ‘Howards End’ features Martin Jones performing Grainger’s Bridal Lullaby and Mock Morris. 7 Azulejos (No. 1 – Prelude) completed by Martin Jones 12.16 His performance repertoire, as well as encompassing most of the standard works for piano, 8 Navarra completed by Martin Jones 8.02 also includes unusual concertos such as the Busoni Concerto, which he performed with the BBC Symphony Orchestra and Norman Del Mar. He has also championed the music of British composers and has performed concertos by Britten, Benjamin, Mathias, McCabe and Lambert. He gave the first performance of the revised version of Alun Hoddinott’s Third Concerto at the 1974 BBC Promenade Concerts, and recorded Hoddinott’s Second Concerto with Andrew Davis and the Royal Philharmonic Orchestra for Decca. Recorded by Nimbus Records at the Concert Hall of the Nimbus Foundation Wyastone Leys, Monmouth UK In the USA he has served as jury member on a number of international piano competitions, March/April 1995 : Disc 1 tracks 7-14 Disc 2 tracks 3, 7 Disc 3 tracks 1-8 Disc 4 tracks 1-8 c 1999 Wyastone Estate Limited 1999 Wyastone Estate Limited and performed in New York, Washington, Florida, Tennessee, Louisiana, Texas, Utah, All other tracks September 2000 c 2020 Wyastone Estate Limited Wisconsin and California. In Los Angeles he gave a recital as part of the 1994 UK/LA This release © 2020 Wyastone Estate Limited Celebration of British Arts, which was broadcast live on KUSC Radio. He gave the world Cover photo : Josep Mª Tamburini Dalmau (1856 - 1932) Young Girl with a Hat (1909) premiere of Ravelled Threads by American composer, Wendy Carlos in New York. In www.wyastone.co.uk 1996 he became the first major British artist to give a solo recital in Ekaterinburg, Russia.

4 NI1711 9 DISC 2 54.38 1 Rapsodia Espanola op. 70 (1886) 12.48 2 Pavana op. 83 Muy Facil 6.21 3 Tango from 6 Hojas de Album Op. 165 3.21

Cantos d'espana op. 232 (1892-98) 15.12 4 II Orientale 3.33 5 III Sous le palmier 4.35 6 IV Córdoba 7.04

7 La vega from The Alhambra, Suite pour le piano (1898) 16.56

DISC 3 52.19 Espana Souvenirs (1899) 11.51 1 I Preludio 7.44 2 II Asturias 4.07

Iberia (1909-9) Book 1 19.16 3 I Evocacíon 6.36 4 II El puerto 4.03 5 III El Corpus en Sevilla 8.37

Book 2 21.12 6 I Rondeña 6.51 7 II Almería 9.17 8 III Triana 5.04

10 NI1711 3 Also available by Martin Jones ISAAC ALBENIZ (1860-1909) Martin Jones, piano DISC 1 64.57 1 Champagne Waltz 5.06 2 Estudio Impromptu op 56 (1886) 5.03

Sonata no. 5 Op. 82 (1887) 18.51 3 I Allegro non troppo 7.33 4 II Minuetto del Gallo. Allegro assai 2.47 5 III Reverie 5.54 6 IV Allegro 2.37 NI5818 3 CD Set NI5851 NI5889 2 CD Set NI585849 Suite espanola op. 47 (1882-89) 35.57 7 I Granada (Serenata) 4.40 8 II Cataluña (Corranda) 2.20 9 III Sevilla (Sevillanas) 4.36 10 IV Cádiz (Canción) 5.02 11 V Asturias (Leyenda) 6.59 12 VI Aragón (Fantasia) 4.34 13 VII Castilla (Seguidillas) 2.52 14 VIII Cuba (Caprichio) 4.54

2 NI1711 11 Other Spanish Box Sets played by Martin Jones

NI1734 6 CD Set NI5724 4 CD Set NI1710 4 CD Set NI5877 3 CD Set Martin Jones, piano Isaac Albeniz

www.wyastone.co.uk

12 NI1711 1