Annie Ma, pno.
This second movement of Goyescas hints at the continued development of the lovers’ relationship. Granados’s own drawing of the same name, found in his Apuntes adds to the story. His Apuntes para mis obras (Notes for My Works) was a sketchbook he kept in which he wrote notes to himself about his works and did sketches related to the compositions he was working on. His sketch, in a style reminiscent of Goya’s Caprichos, depicts a chivalrous majo in his hat and cape sharing an intimate conversation with a maja through an ornamental window grate. Their separation on either side of the grate is most likely in keeping with the social norms of the time. This past ritual of Spanish courtship is portrayed musically in the richly chromatic and ornamental writing with dense textures full of poignant and beautiful melodies.
The movement has an overall nostalgic and highly romantic feel and refers to musical gestures from the previous movement and in movements to come. For instance, Granados inserts the word Requiebros (flatteries) in certain bars and uses brackets to highlight the pertinent Requiebros notes, thus highlighting the melodic connections between the movements and underlining the evolving narrative.
Granados inserts the words Copla and molto espressivo at the beginning of the second section referencing the very expressive tradition of the lyrical vocal refrain. Additionally, a passage marked ‘Recit,’ con dolore e appassionato,’ alludes to another important flamenco vocal tradition: that of cante jondo ,the “deep song” Andalusian improvised vocalizations that depict tragedy, loss and suffering and death..’ Granados’ marks this ‘con dolor e appassionato’ and writes the melodic line in two unison octaves, perhaps symbolizing the passionate and furtive dialogue between the lovers depicted in Granados’s sketch.
© Program notes by Natalia Ricci, 2022
19 дек 2023
