The first book of Albéniz’ four-part cycle “Iberia” has already been published in an acclaimed Henle Urtext edition and many pianists are now eagerly awaiting the remaining ones. The second book in this collection of melodious portraits of Spanish places is now available. In “Rondeña”, “Almería” and “Triana” Albéniz once again fuses his knowledge of European classical music with elements of Spanish folk music, although he hardly ever directly cites the latter, but rather reinvents it in an authentic manner. The rhythmic and colourful effects will delight both players and listeners.
Read more about this edition in the Henle Blog.
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- Iberia · Second Book
Iberia, by Isaac Albéniz (1860–1909), is a central masterpiece of late-romantic piano music at the threshold of modernity. As early as 1913 no less a musician than Claude Debussy summed up the singular position occupied by this Spanish composer and his magnum opus of 1905–1908: “Let us now consider Isaac Albéniz. Having first achieved fame as an incomparable virtuoso … 계속
He numbers among the most important Spanish composers. His oeuvre consists predominantly of piano music and stage works.
|1860||Born 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 1867||Eventful youth due to concert tours with his father and sister to Paris, the Spanish provinces, then on his own to Puerto Rico and Cuba.|
|1876–79||Studies in Brussels.|
|1883–86||Studies 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).|
|1889||Breakthrough as a pianist, concertizing in Paris and London.|
|1890–93||Engaged in London by the agent Henry Lowenfeld; operetta “The Magic Opal” (premiere 1893).|
|1893||Relocation to Paris, studies with Vincent d’Indy and Paul Dukas.|
|1895/96||Premieres in Barcelona of his operas “Henry Clifford” (1895) and “Pepita Jiménez” (1896) with Spanish colorings in the libretti and music.|
|1898–1903||He 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.|
|1905–08||Composes “Iberia,” one of his chief works for piano, in which he reworks the sounds and rhythms of Spanish folk music.|
|1909||Death in Cambô-les-Bains (Basses-Pyrénées) on May 18.|
Der Notensatz ist lobenswert übersichtlich und es gibt vor Ort hilfreiche Erläuterungen, die eine Einstudierung ohne lästiges Nachschlagen ermöglichen.
El mayor logro es la fusión que hace de diferentes fuentes, ediciones y de las correcciones del compositor no incluidas anteriormente. Es un texto ideal, que si bien nunca existió, resulta más aclarador y completo. … Un valcío colmado.
Non più appannaggio esclusivo degli spagnoli, dunque, il lascito di Albéniz trova collocazione nell’ambito di prestigiose Urtextausgabe internazionali per cercare spazio fra interpreti dell’intero globo …
De nieuwe Urtext is zonder meer een fenomenale prestatie. De complexiteit is vertaald naar een goed leesbare partituur, aangevuld met een uitgebreide bronvermelding en een verklarende tabel van voordrachts- en tempoaanduidingen.