70805 for PDF 11/05 - Ivory Classics

Earl Wild Plays Spanish and French Gems
Music by Albéniz, Debussy, Falla, Granados, Mompou, Moszkowski and Ravel
Manuel de Falla (1876-1946)
n Danza del molinero (“Miller’s Dance”)
from El sombrero de tres picos (“Three
Cornered Hat”)
n Danza ritual del fuego (“Ritual Fire
Dance”) from El amor brujo
Commenting on Spanish music, and
his own contributions to it in particular,
Manuel de Falla once stated, “Our music
must be based on the natural music of our
people, on the dances and songs that do
not always show close kinship… It has
occasionally been asserted that we have
no traditions. We have, it is true, no written
traditions; but in our dance and our
rhythm we possess the strongest traditions
that none can obliterate. We have the
ancient modes which, by virtue of their
extraordinary inherent freedom, we can
use as inspiration dictates.”
Manuel de Falla was born in Cadiz,
Manuel de Falla
Spain, November 23, 1876. After preliminary
studies with his mother and several
local teachers, Falla entered the Madrid Conservatory. There he was profoundly
influenced by two teachers, the composer Felipe Pedrell and the pianist José Tragó.
He graduated from the Conservatory with highest honors and in 1905 won first prize
for La Vida Breve, in a competition among Spanish composers sponsored by the
Academy of Fine Arts in Madrid. He visited Paris in 1907 and was so intoxicated
by its musical life that he spent the next seven years in that grand city. There
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he met Debussy, Dukas, Ravel, Fauré, Satie, Schmitt and Roussel. Upon his
return to Spain in 1914 he embarked on an extensive tour, eventually settling in
Granada. He composed El Amor Brujo in 1915, and one year later, the Nights in the
Gardens of Spain. As a result of a commission by Serge Diaghilev, Falla composed
“The Three Cornered Hat,” which became one of the most successful ballets produced
by the Ballet Russe. During the Spanish Civil War, Falla, who was intensely
religious, allied himself with the Franco forces. He saw in the nationalist movement
a balance to the anti-religious activities that had been taking place throughout
Spain. However, support eventually gave way to disenchantment, and Falla, in ailing
health, chose to expatriate himself. Falla died in Alta Garcia, in the province of
Córdoba, Argentina, on November 14, 1946.
The Danza del molinero (“Miller’s Dance”) is one of Falla’s most enchanting and
popular pieces. It is the sixth section of the ballet El sombrero de tres picos (“The
Three Cornered Hat”). The story for this ballet is a simple one. A young miller’s wife
attracts the lusty attentions of the local Governor, who, in order to assure the success
of his advances, jails the miller. The miller’s wife entices the Governor with a
seductive dance to a nearby bridge where due to his excitement he tumbles into the
water. Surviving the fall he goes to the miller’s house to dry himself and taking off
his clothes he makes himself at home in the miller’s bed. To revenge himself, the
freed miller steals the Governor’s clothes. The Miller’s Dance is a fiery farrucca (a
Spanish flamenco dance of gypsy origin). Falla’s ballet was first performed at the
Alhambra Theatre in London on July 22, 1919 with choreography by Leonide
Massine. The curtain, scenery, and costumes of the Russian Ballet’s production were
all designed by none other than Picasso.
Manuel de Falla composed El Amor Brujo in 1915 for a gypsy singer and dancer
named Pastora Imperio, whose mother had told the librettist, Martínez Sierra, the
story on which he built his scenario. It is the story of Candelas, a gypsy girl of passionate
propensities, who was once in love with an evil but irresistible man who
died a violent death. Her new lover, named Carmelo, is much more worthy of her
love. But Candelas is superstitious, and every time Carmelo draws near she feels the
ghostly presence of her departed lover and shrinks away in fear and trembling.
Carmelo, who knew the dead man, reasons that the specter must be attacked at its
weakest point. The dead man had been jealous, but he had also been unfaithful.
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Ingeniously, then, Carmelo induces a
pretty acquaintance of Candelas’, whose
name is Lucia, to make advances to the
apparition when it next appears. The
ruse works. In the few minutes that the
ghost’s attentions are thus directed,
Carmelo takes Candelas in his arms —
the spell is broken — life triumphs over
death. The Ritual Fire Dance is actually
titled Ritual Dance of Fire for the
Exorcism of Evil Spirits. It is one Falla’s
most astonishing and popular musical
creations, evoking a smoking cauldron
and demonic incantations.
Isaac Albéniz (1860-1909)
n2 Malagueña from España, Opus 165
n3 Castilla (Seguidillas) from Suite española,
Opus 47
n5 Triana from Iberia, Book 2
Isaac Albéniz began his career as a
touring virtuoso pianist. Appearing on the
Isaac Albéniz
concert platform at the age of four, his
early life was highly colorful and adventurous.
After being refused admittance to the Paris Conservatory on the grounds that
he was much too young, he ran away from home at the age of nine. He gave concerts
all over Spain, earning enough money to travel to the New World. After
working his way from Cuba to San Francisco playing the piano, he eventually
returned to Europe when he was thirteen. Studies in England and Germany preceded
his return to Spain where he received a Royal grant to continue his travels.
A few years later he gave up his life as a touring piano virtuoso, though not before
he had concertized once again throughout the Americas. He then went to Paris to
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study with Dukas, Debussy and d’Indy. He also met Franz Liszt, and toured briefly
with Anton Rubinstein. When Albéniz abandoned his role of wandering virtuoso, he
dedicated the rest of his life to composition. In 1899, his first and most important
orchestral work appeared, Catalonia, a rhapsody celebrating the place of his birth.
Two years later he composed his masterpiece, Iberia. His remaining years were
spent in France, where he died eleven days before his forty-ninth birthday (1909).
The Malagueña is a type of fandango from Málaga, in southern Spain. It’s a lively
dance in triple time to the accompaniment of castanets or tambourine. It was
published in a collection of six pieces entitled, España, Opus 165. Castilla, is
Albéniz’s evocation of dance music from the province of Castile. He subtitles the
piece seguidillas — a dance in which the dancers “freeze” at the end of each strophe
(or copla) while the musicians introduce the next phrase. Although this Castilla
was published as part of Albéniz’s first Suite española, Opus 47, he also published
it as the concluding Seguidillas of his collection, Cantos de España, Opus 232. One
of the most enchanting sketches from Albéniz’s masterpiece, Iberia, is Triana. Triana
is the ancient quarter of Seville which lies just across the river. Despite its imperial
name — Triana was named for the Roman Emperor Trajan whose birthplace is nearby
— it has been for many years the gathering place of Gypsies, bullfighters, pedlars,
strolling players, and other picturesque characters who live by their wits. The
people of Triana are very gregarious and seem to spend their lives laughing, gossiping,
bargaining, and quarreling in the streets. It is this colorful, irresponsible life that
Albéniz pictured in his music.
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Claude Debussy (1862-1918)
n4 Reflets dans l’eau (“Reflections in the
Water”) from Images, Set I
n9 Les collines d’Anacapri (“Hills of
Anacapri”) from Préludes, Book I
n11 Clair de lune (“Moonlight”) from Suite
bergamasque
n13 Poissons d’or (“Goldfish”) from Images,
Set II
To Debussy music was always a mystery,
something intimate and personal to
be offered and accepted with delicacy.
“The soul of another is a dim forest where
one should walk with cautious steps,” he
once remarked, sounding the keynote of
his own intense love of freedom. It was
not a flaunting freedom nor physical isolation
he craved, but a sort of soul privacy
which gave him his “ivory tower” in
the midst of busy streets. He would have
Claude Debussy
been the last man in the world to have
forced his music on unwilling ears or
spread his dream pictures before eyes that could see only posters!
Historians usually classify Debussy as an Impressionist. Debussy himself argued
that the term could be rightly applied only to the art of painting, where it originated.
Quibbling over a word, however, cannot alter the fact of the striking resemblance
in subject, purpose, and method of Debussy’s music and the work of the
Impressionist painters and Symbolist poets whose philosophies he shared.
When Debussy published his first set of Images in 1905, he wrote to the publisher:
“I think I may say without undue pride, that I believe these three pieces will
live and will take their place in piano literature… either to the left of Schubert… or
the right of Chopin…” According to biographer Oscar Thompson, Reflets dans
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l’eau (“Reflections in the Water”) is one of the most perfect examples of
Impressionism in music. He writes: “The first floating chords establish a mood that
is highly suggestive. Luminous chords and skimming arpeggios are used in successions
that yield a drowsy, flickering effect, as of inverted images in a pool. The basic
theme is a slow, trailing one, mirrored, in the course of its transformation, in what
may be described as harmonic reflections.” Debussy referred to this music as
embodying “the newest discoveries in harmonic chemistry.”
Les Collines d’Anacapri (“Hills of Anacapri”) appears in Book I of Debussy’s
Préludes, published in 1910. According to pianist Marguerite Long, “In this memory
of an Italian journey, light and movement are in opposition to each other. A network
of tarantellas surrounds the Bay of Naples, its villas and its grottoes. In the midst of
frenzied dancing a disapproving note is heard from the convent bells. But a popular
song, simple, indolent and amorous, supervenes. With an imperceptible gesture,
with a single displacement of an acciaccatura (‘crushing-in’ of two notes, when the
principal note retains its accent and practically all its time-value) all the ardor, tenderness
and audacity of a Neapolitan gamin (‘street urchin’) is suggested.”
Clair de lune (“Moonlight”) is spellbinding music. The composer, like a blissfully
unconscious sleepwalker, follows his dream and takes the listener with him into an
invisible world. Clair de lune is one of the four pieces which make up Suite bergamasque
(1890-1905), written when Debussy was much intrigued by the Symbolist
poets. Italian musicologist, Guido Gatti, writes: “What an airy flowering of arpeggios
ascends the keyboard, to leap up again like a fountain jet which scatters its
water on the air, then relapses into calm again in solid tonic and dominant undulations,
on which the theme spreads out, ample, sonorous, expressive.” This is beautiful,
emotional, pellucid music, where Debussy revels in the luscious, often “floating”
tone.
Debussy published his second set of Images in 1907. The final piece is Poissons
d’or (“Goldfish”). According to biographer Léon Vallas, this music was inspired by
the contemplation of a piece of oriental lacquer in Debussy’s possession. “Thus
viewed,” writes Oscar Thompson, “the music is less a description of actual goldfish
swimming in a pool than it is a reflection of Debussy’s love of Japanese objets d’art.
But it has the flash of sunlight on water and the gleam of moving fins, rather than
any suggestions of static contemplation of line and color.”
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Enrique Granados (1867-1916)
n7 Andaluza (Playera) (Danza española No.5)
from Doce danzas españolas, Opus 37
n14 Quejas, o la maja y el ruiseñor
“Complaints, or the Maiden and the
Nightingale”) from Goyescas
Enrique Granados was born in 1867,
the son of an officer in the Spanish army.
He was a gifted child, and his parents
were proud to foster his music. Like his
famous compatriots, Albéniz and Falla,
Granados studied with Felipe Pedrell.
When he was twenty years old, Granados
went to Paris in the hope of studying at
the Conservatory, but typhoid fever prevented
him from taking the necessary
entrance examinations. Although, he was
never admitted into the Conservatory,
Granados remained in Paris for two years.
Upon returning to Spain he began a
career as a pianist. His success as a trav-
Enrique Granados
elling virtuoso did not deter him from
composing. He produced some of his
most enduring piano works, which included the four volumes of Spanish Dances
and the remarkable set of six pieces, entitled Goyescas. From these piano pieces,
Granados composed an opera which received its first performance at the
Metropolitan Opera in New York on January 28, 1916. Despite the war, Granados
came to the United States to attend the premiere. An invitation to play for President
Wilson at the White House proved fatal to Granados. Delaying his return to Europe
by a week in order to honor this engagement, Granados was traveling aboard the
Sussex, when the Germans torpedoed and sunk it on March 24, 1916.
The Doce danzas españolas were composed between 1892 and 1900. These
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exquisite pieces were greatly admired by Jules Massenet, Camille Saint-Saëns and
Edvard Grieg. The fifth in the set is entitled Andaluza. This music with its vigorous
changing rhythms, sudden outbursts, and languid melodies, evoking sunny
Andalusia, is the expression of a southern people in whom strong emotions and
indolence are strangely mingled. In his masterpiece, Goyescas, Granados sought to
evoke the spirit of the Madrid which Spanish painter and printmaker, Francisco
Goya (1746-1828) knew and depicted. It was the Madrid of the late eighteenth century
with its picturesque majas and majos (coquettes and mashers), a Madrid of
romantic patios, grilled windows, and gardens sweet with scent and nightingale
song. The suite of six pieces was completed in 1911. The fourth piece is entitled
Quejas, o la maja y el ruiseñor (“Laments, or the Maiden and the Nightingale”). It is
one of Granados’ most luxurious melodic inspirations. The maja sings and the
nightingale answers with trills. The work is full of passion and tension. Lyricism
abounds. Granados writes in the score: “Con celos de mujer; no con tristeza de
viuda” (“With a woman’s jealousy, not with a widow’s sorrow”).
Moritz Moszkowski (1854-1925)
n8 Caprice espagnole, Opus 37
Moritz Moszkowski was born in Breslau. He began music studies in Dresden,
eventually moving to Berlin to continue his education with Kullak and Wüerst. He
was an extraordinary pianist who toured extensively throughout Europe. His debut
in Berlin at the age of 19 was sensational, prompting Franz Liszt to write admiringly
of him. Frederick Kitchener witnessed one of Moszkowski’s recitals in
England. He related that “the playing of Moszkowski was beautiful; there was no
attempt to astonish… a musician, not an acrobat was at the piano.” According to
Emil Liebling, “considered as a pianist, Moszkowski is hors de concours…
Everything was done musically and with the utmost ease.” Highly influential as a
teacher, Moszkowski taught at the Kullak Conservatory in Berlin and later in Paris.
Many Americans flocked to Europe to study with him. Illustrious pianists such as
Josef Hofmann were among his pupils. For a figure of such professional stature, his
personal life in later years was less fortunate. After an unsuccessful marriage to
pianist Cecile Chaminade’s sister, Georgette, Moszkowski moved to Paris with his two
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children (a daughter who died shortly
after their arrival to Paris, and a son).
Through some unfortunate carelessness
Moritz Moszkowski lost the copyrights to
his compositions during World War I, and
eventually died from a painful throat illness
in near poverty on March 4, 1925 in
Paris.
Today, Moszkowski is best remembered
for a few delightful piano pieces —
the Etudes, Opus 72, Etincelles (“Sparks”),
Opus 36, No.6 (popularized by Hofmann
and Horowitz), and his Spanish Dances
for piano 4-hands, Opus 12. He also
composed operas, ballets, orchestral
suites, songs, concertos, and chamber
music — many of which remain forgotten.
No proper re-assessment of
Moszkowski’s compositions has taken
place nor has anyone written a biography
of this once influential teacher, pianist
and composer. Most writers on music
continue to repeat the pejorative term
Moritz Moszkowski
“salon composer” when commenting on
Moszkowski. How unfortunate.
Much of Moszkowski’s music is written for the piano. These works are generally
miniatures, always well-crafted and pianistic. His early song cycles demonstrate an
affinity for the voice and are written in a powerful Brahmsian mode. The orchestral
suites show Moszkowski to be a brilliant orchestrator having a powerful grasp of
polyphony. The operas and ballets evidence a keen understanding of theatrical
music and have been performed all over the world. The piano and violin concertos
are brilliant showpieces, full of delicious melodies. Yet, despite all this musical
evidence, Moszkowski is not accorded much attention and is often considered a
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footnote in musical history. One of his
most effective piano compositions was
the Caprice espagnole, Opus 37. A brilliant
work in Spanish style, full of delicious
Spanish rhythm and a constant play
of light and shade, this neglected and difficult
showpiece was a favorite of many
legendary pianists, including Josef
Hofmann and Wilhelm Backhaus.
Federico Mompou (1893-1987)
n10 Canción y Danza No.8
Federico Mompou was born in
Barcelona. He began music studies at an
early age and then entered the Barcelona
Conservatory where his primary teacher
was Pedro Serra. In 1911 he went to Paris,
where he studied with Isidore Philipp,
Ferdinand Motte-Lacroix, and Marcel
Samuel Rousseau. During World War I,
Mompou remained in Barcelona and
devoted his time primarily to composi-
Federico Mompou
tion. But the spell of France was too irresistible.
He returned to Paris in 1921,
remaining there until 1941. From 1941 until his death in 1987, Mompou resided
in Barcelona, where he continued to compose and where he also recorded most of
his piano works. In the 1950’s Gerard Michel wrote the following profile of the
composer: “Mompou caresses the black and white keys with his ardent and delicate
fingers, and from then on nobody can resist the spell. A magician who bans
all ostentatious effects, he makes a discovery out of the merest trifles. The subjectivity
itself is such that technique no longer seems to exist.” All Federico Mompou’s
piano pieces explain his thought when he said: “I am not a musician, but I should
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very much like to be music itself.” From
1921 to 1979 Mompou composed fourteen
Canciones y Danzas with the aesthetic
purpose of creating a musical contrast
between lyricism and rhythm. Sadness
and nostalgia are contrasted with a brilliant
dance. Composed in 1946, the
Cancion y Danza No.8 tells the melancholy
story (in the form of a slow waltz) of
“El testament d’Amèlia” with the Catalan
grace and elegance of “La filadora.” The
work is dedicated to the pianist Ricardo
Viñes.
Maurice Ravel (1875-1937)
n12 Jeux d’eau (“Play of Water”)
n15 Alborada del gracioso (“The Morning
Serenade of a Delicate Buffoon”) from
Miroirs
In an interview published a few years
before his death in 1937, Maurice Ravel
spoke about himself: “I am not a “modern
Maurice Ravel
composer” in the strictest sense of the
term, because my music, far from being
“revolution,” is rather “evolution.” Although I have always been open-minded to new
ideas in music I have never attempted to over-throw the accepted rules of harmony
and composition. On the contrary, I have always drawn liberally from the masters for
my inspiration (I have never ceased studying Mozart!), and my music, for the most
part, is built upon traditions and is an outgrowth of the past. I am not a “modern composer”
with a flair for writing radical harmonies and disjointed counterpoint because
I have never been a slave to any one style of composition. Nor have I ever allied myself
with any particular school of music. I have always felt that a composer should put on
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paper what he feels and how he feels it — irrespective of what the current style of
composition may be. Great music, I have always felt, must always come from the
heart. Any music created by technique and brains alone is not worth the paper it
is written on.”
In 1901 Ravel created one of his most admired piano works — Jeux d’eau
(“Play of Water”). In his autobiography he wrote: “The Jeux d’eau, stands as the
point of departure for all new pianistic expressions one may find in my works. This
work, inspired by the bubbling of water and the musical sounds of fountains,
waterfalls, and brooks, is built on two themes in the manner of the first movement
of a sonata, without, however, being subjugated to the classic tonal formula.” The
score provides a quote from Henri de Régnier: “The river god laughing at the
water that tickles him.” Ravel dedicated the piece to his “beloved master Gabriel
Fauré.” Benno Moiseiwitsch, who performed this work often and was one of the
first pianists to record it, perhaps described it best: “Glittering drops falling —
now singly, now in iridescent groups, the water flowing, leaping and laughing in
merry play, molding and remolding itself into a hundred shapes, with a hundred
changes of light and color.”
The five pieces that make up the set Miroirs are all inspired by some sort of
external image or impressions “mirrored” in sound. Ravel composed Miroirs in
1905. The fourth work in the set is entitled Alborada del gracioso (“The Morning
Serenade of a Delicate Buffoon”). Dedicated to musicologist M. D. Calvocoressi,
this piece is one of Ravel’s most brilliant creations. The composition is a vivid musical
portrait of a Spanish dandy (one biographer called him a sort of “Andalucian
Petrushka”!) in which may be heard his morning serenade and the metallic strokes
on the guitar and the dry, determined crackling of castanets accenting brief halts in
the rhythm. It is a pianistic tour de force that includes glissandi in fourths and
thirds, long series of repeated notes, and difficult staccato passages.
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— Marina and Victor Ledin, © 1998

Earl Wild Biography
Earl Wild is a pianist in the grand Romantic tradition. His legendary career, so
distinguished and long, has continued for over 70 years. Born in 1915, in
Pittsburgh, Pennsylvania, Earl Wild’s technical accomplishments are often
likened to what those of Liszt himself must have had. Born with absolute pitch
he started playing the piano at three. Having studied with great pianists such as
Egon Petri, his lineage can be traced back to Scharwenka, Busoni, Ravel, d’Albert
and Liszt himself.
Earl Wild’s career is dotted with musical legends. As a young pianist he was
soloist with Arturo Toscanini and the NBC Symphony. Since then he has performed
with virtually every major conductor and symphony orchestra in the world.
Rachmaninov was a friend and an important idol in his life. It’s been said of Earl
Wild, “He’s the incarnation of Rachmaninov, Lehvinne and Rosenthal rolled into
one!” In 1986 after hearing him play three sold-out Carnegie Hall concerts, devoted
to Liszt, honoring the centenary of that composer’s death, one critic said, “I find
it impossible to believe that he played those millions of notes with 70-year-old fingers,
so fresh-sounding and precise were they. Perhaps he has a worn-out set up in
his attic, a la Oscar Wilde’s Picture of Dorian Gray.”
He’s one of the few American pianists to have achieved international and
domestic celebrity. He has performed for six Presidents of the United States, and
in 1939, was the first classical pianist to give a recital on the new medium of
television. At fourteen he was performing in the Pittsburgh Symphony with Otto
Klemperer as well as working at radio station KDKA, where he played many of
his own compositions. As a virtuoso pianist, composer, transcriber, conductor,
editor and teacher, Mr. Wild continues in the style of the legendary great artists
of the past.
This eminent pianist has built an extensive repertoire over the years, which
includes both the standard and modern literature. He has become world renown
in particular for his brilliant performances of the virtuoso Romantic works. Today
at 83, Mr. Wild continues to record and perform concerts throughout the world. In
1997, he won a Grammy ® Award for his disc, “The Romantic Master” – thirteen
piano transcriptions (nine of his own). When he was 79, he recorded a critically
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acclaimed Beethoven disc which included the very difficult Hammerklavier Sonata,
as well as a disc of the Rachmaninov Preludes. As an Ivory Classics artist, his
immediate plans are to record three 20th century piano sonatas by well known
composers as well as a sonata of his own.
Credits
Tracks n, 1 n, 2 n, 3 n, 5 n, 6 n, 7 n, 8 n, 10 n14 and n15
recorded in New York City, October 12, 1965
Tracks n, 4 n, 9 n12 and n13 recorded in London, April 1968
Track n11 recorded in London, October 14, 1964
All tracks under license from Reader’s Digest Music,
A Division of the Reader’s Digest Association, Inc.
Remastering Producer: Michael Rolland Davis
High resolution digital remastering:
Ed Thompson and Glenn Meadows at Masterfonics, Nashville
®
encoding provided by Doug Beard and Tom Jenny of Data CD, Inc.
Liner Notes: Marina and Victor Ledin
Design: Communication Graphics
Inside Tray Photo:
Earl Wild with ‘Lotus,’ an optical glass sculpture by Christopher Ries
(Photo by Kevin Fitsimmons)
To place an order or to be included on mailing list:
Ivory Classics P.O. Box 341068 • Columbus, Ohio 43234-1068
Phone: 888-40-IVORY or 614-761-8709 • Fax: 614-761-9799
e-mail@ivoryclassics.com • Website: http://www.IvoryClassics.com
– 15 –

Music by Albéniz, Debussy, Falla, Granados, Mompou,
Moszkowski and Ravel
Falla: Danza del del molinero
(“Miller’s Dance”) from El sombrero de tres
picos (“Three Cornered Hat”) 2:20
1 9
2
Albéniz: Malagueña Malagueña from España, Opus 165 4:00
3
Albéniz: Castilla (Seguidillas) from Suite
española, Opus Opus 47 3:00
4
5
6
7
8
Debussy: Reflets dans l’eau from Images,
Set Set I (1905) 5:10
Albéniz: Triana from Iberia, Book 2 5:11
Falla: Danza ritual ritual del del fuego fuego (“Ritual Fire
Dance”) from El amor brujo 3:41
Granados: Andaluza (Playera – Danza española
No.5), from Doce danzas españolas, Opus 37 3:35
Moszkowski: Caprice espagnole, Opus 37 5:52
Debussy: Les collines d’Anacapri
(“Hills of Anacapri”) Anacapri”) from Préludes, Book I 2:55
Mompou: Mompou: Canción Canción y Danza No.8 (1946) 3:35
Debussy: Clair Clair de lune from Suite bergamasque 4:30
Ravel: Jeux d’eau (1901) 5:00
Debussy: Poissons Poissons d’or from from Images,
Set II (1907) (1907) 3:25
Granados: Quejas, Quejas, o la maja y el ruiseñor
(“Laments, or the Maiden and and the Nightingale”)
from Goyescas (1911) 7:01
Ravel: Alborada Alborada del gracioso from
Miroirs (1905) 6:30
Total Playing Time: Time: 67:15
Remastering Producer: Michael Rolland Davis
Remastering Engineer: Ed Thompson
All tracks under license from Reader’s Digest Music, A Division of The Reader’s Digest Association, Inc.
10
11
12
13
14
15
©1998 Ivory Classics
®
• All Rights Reserved.
Ivory Classics 64405-70805 STEREO
• P.O. Box 341068
Columbus, Ohio 43234-1068 U.S.A.
Phone: 888-40-IVORY or 614-761-8709 • Fax: 614-761-9799
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