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Chants d'Espagne op. 232
Prélude
6 medium
Orientale
6 medium
Sous le Palmier
5 medium
Córdoba
5 medium
Seguidillas
7 difficult

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In good nineteenth-century tradition, Isaac Albéniz (1860–1909) fulfilled two roles at the same time. On the one hand a brilliant virtuoso pianist and celebrated interpreter of the classic-romantic repertoire, he was on the other a composer of a large body of works for piano covering every genre including the sonata and concerto (but clearly centered on thelyrical piano pi... mws-henle.cms-product-detail.documents-more-label

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Isaac Albéniz

He numbers among the most important Spanish composers. His oeuvre consists predominantly of piano music and stage works.

1860Born in Camprodón (Gerona province) on May 29; soon thereafter his family moves to Barcelona; first piano instruction with his sister at age three and a half, first public performance at age five, subsequent piano studies with Narciso Oliveras.
from 1867Eventful youth due to concert tours with his father and sister to Paris, the Spanish provinces, then on his own to Puerto Rico and Cuba.
1876–79Studies in Brussels.
1883–86Studies composition in Barcelona with Felipe Pedrell, who persuades him of the value of Spanish folk music. This results in piano compositions such as “Recuerdos de viaje,” Op. 71 (1886–87); “España: Seis hojas de album,” Op. 165 (1890); “Cantos de España,” Op. 232 (1891–94).
1889Breakthrough as a pianist, concertizing in Paris and London.
1890–93Engaged in London by the agent Henry Lowenfeld; operetta “The Magic Opal” (premiere 1893).
1893Relocation to Paris, studies with Vincent d’Indy and Paul Dukas.
1895/96Premieres in Barcelona of his operas “Henry Clifford” (1895) and “Pepita Jiménez” (1896) with Spanish colorings in the libretti and music.
1898–1903He plans the trilogy “King Arthur” (“Merlin,” “Lancelot,” “Guenevere”), of which just “Merlin” is completed; concert performance of the original version does not take place until 1998.
1905–08Composes “Iberia,” one of his chief works for piano, in which he reworks the sounds and rhythms of Spanish folk music.
1909Death in Cambô-les-Bains (Basses-Pyrénées) on May 18.

© 2003, 2010 Philipp Reclam jun. GmbH & Co. KG, Stuttgart

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Rolf Koenen (mws-henle.person.role.FINGERSATZ)

As a pupil, Prof. Rolf Koenen, born in 1946 in Duisburg, had already had contact with Ewald Zimmermann, the first editor at the young publishing house. He studied the piano at the Folkwangschule in Essen with Detlef Kraus, with Ludwig Hoffmann in Munich and with Maria Tipo in Florence.

He gave concerts in a permanent duo partnership with Hansjörg Schellenberger, who was later to become the solo oboe player with the Berlin Philharmonic, and made several recordings with the Deutsche Grammophon-Gesellschaft, with Denon and Sony. Other chamber music partners included András Adorján, Stefan Dohr, Wolfgang Schulz, Claes H. Ahnsjö. Following a teaching position in Munich, Rolf Koenen was appointed as a professor at the Berlin University of the Arts in 1982.

Albeniz allie la perfection des éléments folkloriques de son pays natal à un brio empreint de virtuosité, le tout lié intimement à une palette impressionnante. Désormais, tous les pianistes disposent d’un texte musical répondant aux critères d’une édition Urtext.

Crescendo, 2006

Henle punta l’attenzione su Albéniz e alla pubblicazione di Iberia, di cui però finora è uscito solo il primo fascicolo dei quattro, affianca quella di Chants d’Espagne op. 232, una raccolta di cinque composizioni dalla genesi piuttosto eterogenea. … Perduti gli autografi, le fonti principali sono la prima edizione, per i tipi Pujol di Barcellona, e una successiva per Unión Musical Española pubblicata dopo il 1914. Questa nuova Urtext, con un apparato critico che segnala le discordanze fra le diverse versioni, è curata da Ullrich Scheideler.

Giornale della musica, 2005

With a penchant for multi-stacked accidentals in key signatures and a tendency in faster movements to pile on the rapid passagework, Albéniz’s music certainly needs the most sympathetic and lucid of editions. Happily, this new volume, containing some of the composer’s most celebrated morceaux, satisfies in a way that earlier editions singularly failed to. … Henle’s editor, Ullrich Scheideler, is especially precise and lucid with regard to the possible conflicts and mistakes that have arisen down the generations in these works, whilst Rolf Koenen’s fingering for the most part is extremely balanced, uncontroversial and intelligent.

Sheet Music, 2005

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