Sophia Bae (9 years), pno.
Los Recuerdos de Viaje Op. 71 [Travel Memories] is a cycle of 7 pieces for piano which Albeniz wrote between 1886 and 1887, shortly after he moved to Madrid. Translated from the Spanish as ‘Travel memories or reminiscences’, these pieces are like musical postcards, each one evoking impressions of landscapes and places, some real and some imagined. From a compositional standpoint, these pieces are placed somewhere in the middle ground between his early romantic short salon-style works and the later works with strongly nationalist traits such as his Suite Española and his masterpiece, the Iberia Suite. In style and mood they range from dramatic mini ballades to dreamy impressionistic water-colour evocations. These picturesque pieces were among Albeniz’s earliest attempts to capture the spirit, rhythms, and moods of his native country. The suite includes a bolero, a malagueña, an alborada, (dawn song) and two barcarolles among its movements.
En La Alhambra [In the Alhambra]
This piece is named after the Alhambra, the iconic Moorish historical site in Grenada which was a source of inspiration for much of Albeniz’ music. This fortress was the Moorish royal palace until 1492 when Granada, as the last Islamic stronghold was taken by the Catholic monarchs. A strong rhythmic staccato introduction with arpeggiated flourishes and accentuated ‘foot stamps’ evoke the zapateado of a flamenco dancer. En la Alhambra is in ternary (ABA) form with the A section characterised by rolling LH arpeggiated chords and a RH singing melody with melisma-like ornamentation highly suggestive of the Moorish influence. The addition of Albeniz’s marking con duolo in the second part of the theme imparts the melodic material with an intensity and depth of emotion that harks to the pain and suffering expressed in the improvised songs of cante jondo, the ancient flamenco vocal tradition. A return of the opening flamenco rhythms segues into the contrasting and hushed middle section, which uses diatonic harmonies and a melody decorated with rhythmic triplet figures reminiscent of the bolero accompanied by steady quavers in the LH. This is capped by a return of the entire A section and a forceful zapateado flourish to close the piece.
Puerta de la Tierra refers to the gate at the opening of the historic part of Cádiz. This exuberant and festive piece features the popular animated triplet dance rhythms of the bolero and ornamental arabesques incorporated into the melodic lines. There are also hints of a Chopinesque mazurka-like lyricism in some of the quieter passages.
© Program notes by Natalia Ricci, 2022
18 дек 2023
