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324:"based on strong flamenco rhythms. Its seven "verses" are tied together by the similarity of the first three verses, the fact that the 4th and 5th verses begin in the same way as the first three, and that the 6th is based on their endings; the 7th verse is a free mixture of the beginning and ending materials just mentioned. The seven verses are enclosed by a four-bar introduction, which set the rhythm, and a 13-bar Coda which provides a brilliant ending."
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markings suggest both guitar sounds and the footwork of a flamenco dancer. The piece sounds as though it is written in the
Phrygian mode which is typical of bulerĂas. The second section is a reminiscent of a copla â a sung verse following a specific form. Clark states that it is written in typical
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demonstrates new forms and new harmonies that Albéniz had not shown previously. Clark writes, "The suite represents the furthest advance in Albéniz's
Spanish style to date in its seriousness, harmonic richness, and formal variety." It was after the composing this suite that Albéniz redirected his
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Albéniz's biographer, Walter Aaron Clark, describes the piece as "pure
Andalusian flamenco" with a main theme that mimics the guitar technique of alternating the thumb and fingers of the right hand, playing a pedal-note open string with the index finger and a bass melody with the thumb. The theme
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playing a serenade with a
Moorish sound. The second section sounds of flamenco dancers and Spanish folk song rhythms as it mounts to a moving climax. There is a repeat of the first section and then a brief coda. Ericourt states, "In view of the multifaceted nature of this piece, it would not be
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The suite was premiered in Paris on March 28, 1892, by Albéniz in a private concert for piano and cello, accompanied by members of the Opéra
National de Paris orchestra. Several days later the first publication of the work in the repertoire was announced by the composer's publisher.
234:"First, the rhythm is to be steady, with even beats throughout, but at the same time, give a supple and relaxed, even languid or voluptuous impression. The 'marcato' indication at the beginning means exactness, rather than a rigidity of rhythm. The music must flow uninterruptedly."
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Albéniz form as it is "presented monophonically but doubled at the fifteenth for more fullness of sound. The music alters between a solo and accompaniment that is typical of flamenco. The short middle section of the piece is written in the style of a
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175:â another flamenco style piece. The malagueña borrows two motives from the previous copla and builds on them. The piece returns to its first theme until a slow "hymn-like" passage ends the piece.
281:. Clark states that the name of the piece may have been inspired by Albéniz's namesake, St. Isaac of Córdoba, who died defending his faith in this southern Andalusian city.
226:(Spanish Dance). As the piece has two names, it also has two feelings as it progresses. The gentle swaying of the palm trees coincides with the swaying of the Gypsy
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Ericourt also emphasizes the importance of moderation in expression: "Any exaggeration, tonal or otherwise, could easily bring vulgarity to this composition."
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Historically this suite, and the first three pieces, are usually referred to by their French names, but some recordings give the titles in
Spanish.
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style, rhythmically ambiguous so as to resemble liturgical singing. The first section ends in contrasting character, reminiscent of a
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196:) too is based on the songs and dances of Andalusia in spite of its Asian name. Opening with a dissonant clash of chords, the
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were added in the 1898 edition. According to GĂŒnter
Schulze, "Many... have the flavor of the flamenco so beloved of Albéniz."
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277:". The city is rich in history, both Christian and Moorish, and Albéniz captures the mood and feel of both in
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is established quickly. It is melancholic and reflective. The main theme is also based on an octosyllabic
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Exact rhythm is paramount in the performance of this piece to be true to the typical
Spanish dance form.
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is a popular song or dance form composed from four to seven verses. The form is explained as,
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39:, English: Songs of Spain) is a suite of originally three, later five pieces for the
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The piece begins with the sound of tolling church bells. The sound of a hymn in
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compositional energy toward musical drama, opera and theatre.
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celebrates one of Albéniz's favorite cities. In the heart of
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arranged the piece for guitar in its most recognizable key,
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Guitar version of "Asturias" performed by Sharon Isbin.
353:, Garland Publishing Inc. New York & London, 1998.
367:, Hinshaw Music, Chapel Hill North Carolina, 1984.
297:improper to consider this evocative composition a
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363:Daniel Ericourt and Robert. P. Erickson,
360:, Oxford University Press, New York 1999.
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241:At measure 17, the music moves to the
222:= Under the Palm Tree), also known as
138:; it was subsequently made popular by
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358:Isaac Albéniz: Portrait of a Romantic
312:The final piece of the collection is
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51:(later known as Asturias (Leyenda)),
365:MasterClasses in Spanish Piano Music
634:Spanish compositions for solo piano
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351:Isaac Albéniz: A Guide to Research
154:itself suggests the rhythm of the
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122:) is also known under the titles
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639:Suites by Isaac Albéniz
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118:The Prélude (Spanish:
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22:Cover of the score of
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192:This piece (Spanish:
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35:, Op. 232, (Spanish:
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536:Rumores de la Caleta
437:List of compositions
356:Walter Aaron Clark,
349:Walter Aaron Clark,
74:PremiĂšres and impact
188:Oriental (Albéniz)
158:â a song from the
124:Asturias (Leyenda)
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99:Asturias (Leyenda)
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644:1892 compositions
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564:Cantos de Espagña
389:Albeniz's Leyenda
258:Córdoba (Albéniz)
162:repertoire. The â
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387:'s website -
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385:Stanley Yates
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314:Seguidillas
307:Seguidillas
288:plays in a
286:dorian mode
65:Seguidillas
628:Categories
550:Tango in D
318:seguidilla
218:(Spanish:
168:'staccatoâ
144:film music
578:Orientale
299:tone poem
267:Andalusia
181:Orientale
173:malagueña
83:The music
53:Orientale
613:Category
557:Mallorca
527:Asturias
506:Cataluña
194:Oriental
160:flamenco
120:Preludio
594:La Vega
585:CĂłrdoba
571:Prelude
513:Sevilla
499:Granada
332:Summary
279:CĂłrdoba
271:CĂłrdoba
263:CĂłrdoba
251:CĂłrdoba
164:marcato
156:bulerĂa
136:E minor
92:Prélude
61:CĂłrdoba
49:Prélude
484:Iberia
466:Merlin
444:Operas
26:(1898)
520:CĂĄdiz
493:No. 1
476:Piano
372:Notes
294:gusla
228:tango
202:copla
41:piano
316:. A
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