70805 for PDF 11/05 - Ivory Classics

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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 – 4 –
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. – 5 –
Page 2 and 3: Earl Wild Plays Spanish and French
Page 6 and 7: Claude Debussy (1862-1918) n4 Refle
Page 8 and 9: Enrique Granados (1867-1916) n7 And
Page 10 and 11: children (a daughter who died short
Page 12 and 13: very much like to be music itself.
Page 14 and 15: Earl Wild Biography Earl Wild is a
Page 16: Music by Albéniz, Debussy, Falla,

70805 for PDF 11/05 - Ivory Classics

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