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Isaac Albeniz: Suite Espanola (180g) LP под заказ 2-4 недели.

2300.00 руб.
Артикул: нет
Производитель: Decca
Музыка: Классика
Носитель: LP

New Philharmonia Orchestra, Rafael Frühbeck de Burgos

Label: Decca, 1967

дата релиза: 4.5.1998

1) Castilla (Seguidillas)

2) Asturias (Leyenda)

3) Aragon (Fantasia)

4) Cadiz (Cancion)

5) Sevilla (Sevillanas)

6) Granada (Serenata)

7) Cataluсa (Corranda)

8) Cordoba 

 Величайших испанский композитор и его оркестровое сюиты в исполнении лондонского New Philharmonia Orchestra, и всемирно известного дирижера Рафаэльфа Фрюбека де Бургоса.



I.Albéniz & Fruhbeck de Burgos - Suite Español


Sevilla, Granada, Asturias, and Castilla from Suite española (orch. Frühbeck de Burgos)

In Chicago, Isaac Albéniz may be best known as the composer of Leyenda, which, in a felicitous transcription for guitar, has served as radio station WFMT's “theme” song for decades. Leyenda was a favorite of Andrés Segovia, and so many people have heard his famous recording or performances by any of the guitarists who followed him and helped to make it the classic Spanish guitar piece, that they don't realize that it was originally written for piano. Now, in this week's concerts, Leyenda appears in full orchestral color as one of four pieces by Albéniz that our conductor, Rafael Frühbeck de Burgos, orchestrated four decades ago.


The idea of orchestrating Albéniz's dazzling piano music is not new. In fact, we owe the existence of Boléro to the fact that Ravel was unable to secure the rights to orchestrate several pieces from Albéniz's Iberia, and was forced instead to write his now-famous set of variations on a sinuous melody over an insistent bolero rhythm. We can easily understand what attracted Ravel eighty years ago and Frühbeck de Burgos more recently, for Albéniz's piano works are brilliantly colored, filled with suggestive harmonies and complex textures, and richly evocative.

I.Albéniz & Fruhbeck de Burgos - Suite Español


It's hardly surprising that the majority of Albéniz's works are written for solo piano, for he was a virtuoso pianist and a celebrated performer during his lifetime. He began lessons at the age of three and gave his first public performance the following year in Barcelona. He was turned away from the Paris Conservatory in 1868 because he was too young (he was only eight at the time), but he was undeterred, and within two years he was essentially living the life of a grown-up touring virtuoso. The next years are a blur of nomadic adventures, including studying in Brussels, running away to South America as a stowaway, moving to London in 1890, and settling in France three years later. Throughout it all, he continued to compose.

The pieces we now know as movements of his Suite española are depictions of his native Spain that were composed at different times and published together as a set only after his death. Each is in the form of a dance and named after a place Albéniz knew. The first of those performed this week, a portrait of Seville, is a sevillana, which is a hot-blooded relative of the seguidilla that Carmen famously sings (and not originally from Seville, despite its name). Granada is a serenata—a little Spanish night music, its exotic melodies colored by the Moorish culture of Andalusia. Next comes the celebrated Leyenda, or Legend—set in Asturias, the seacoast province in the northwest. The final piece is a real seguidilla, named after the Castile region in central Spain, and colored here by the inimitable, intoxicating clatter of the castanets.

Phillip Huscher is the program annotator for the Chicago Symphony Orchestra.

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