Albéniz began composing his Suite Española in 1886. It was intended as a collection of eight pieces, each highlighting a particular region of Spain, including Cuba. In the end, only four pieces were published during Albeniz’s lifetime (Granada, Cataluña, Sevilla and Cuba) and those as individual compositions. Twenty years later, a different publisher took over the project and the suite was completed with 4 additional pieces (Cádiz, Asturias, Aragón and Castilla) which Albéniz had composed in the interim. The suite’s movements each bear descriptive sub-titles, often a distinctive dance or musical form connected with the individual pieces, for example Sevilla (Sevillanas), and Castilla (Seguidillas). Some of the names of the four additional works added after Albéniz’s death were chosen by the publisher and not Albéniz himself. Most of Albeniz’s compositions in the Spanish nationalist style were written while living outside Spain in London and Paris. Albéniz felt a nostalgia for his homeland and especially Andalusia. with its flamenco, and ancient, Moorish associations .and architecture. Although Catalan, he identified strongly with the ‘Spanish-ness’ of Andalusia. In addition to the original piano version of Suite Española, the works have all been transcribed in versions for guitar as well as orchestra.
Sevilla is based on the rhythm of the sevillanas - a typical dance and song from Seville, Huelva and other areas of Andalusia. The origins of sevillanas can be traced back to the era of the Catholic Monarchs around the 15th Century. They were derived from the Seguidillas Castellanas, an old Castilian folk music and dance genre. The typical sevillanas rhythmic motive, (short-short-long), dominates the thematic material of the entire piece. A typical sevillanas is written in triple meter and is characterised by phrases that begin on the weak halves of the beat, giving the impression of a continuous forward motion in the music.
A popular and exuberant dance form, the sevillanas is the most typical couples dance in Andalusia and one of the most widely taught and popular Spanish dances in the world. The sevillanas are more animated and lighter in mood than most Andalusian flamenco dances and have a joyous, flirtatious air. They are danced during the Andalusian fiestas and festivities that follow Semana Santa (Holy Week) such as the famous Seville Fair (Feria de abril de Sevilla). The women typically wear trajes gitanas (colourful polka dot dresses) that add a swirling character and grace to the dance. The music of the sevillanas is cheerful, festive, and filled with variety. The dancers’ castanets create complex counterrhythms to their foot movements. The roots of this light-hearted and lively song and social dance extend deeply into many parts of Spanish culture.
The middle section of this piece, the lyrical copla, is a beautiful evocation of cante jondo, the flamenco ’deep song’ tradition. Both hands play in unison two octaves apart as the melodic line with its arabesque-like decoration, curls around on itself within a typically narrow range, invoking the expressive vocal portamento (sliding between pitches) and chant-like melismas of cante jondo with its Moorish, archaic qualities.
© Program notes by Natalia Ricci, 2022
19 дек 2023
