Enrique Granados (1867-1916), one of Spain's greatest twentieth-century composers, was a fine pianist and teacher who composed numerous works for the piano, his favorite instrument. His Escenas Poeticas (Poetic Scenes) and Escenas Romanticas (Romantic Scenes) are two suites which show pianistic influences of Grieg, Schumann and Liszt. These two suites are not as well known in America, nor are they as "Spanish sounding" as some of his other works; however, they still reflect the composer's original compositional style and beautiful melodic writing. the Escenas Romanticas contains six pieces from easy to difficult, while the Escenas Poeticas has three pieces mostly easy to medium in difficulty. This is the first transcription and arrangement of these works for guitar. They are written in standard notation only.
The complete set of Twelve Spanish Dances transcribed and arranged for guitar. the transcriptions remain true to the original piano score, but have been arranged in an idiomatic style for the guitar. the Spanish Romantic compositional style of Enrique Granados comes through in these elegant dances. the simplistic and intimate nature of the melodies make them very accessible for the guitar. These arrangements are a fresh approach to the familiar dances and an incentive to play some of the lesser known. A valuable addition to any guitar library. the edition includes a composer bio and program notes about each of the dances. Written in standard notation.
Granados's 12 Spanish Dances is a cycle of keyboard vignettes depicting Spanish life. This is the first critical edition published in the United States that includes Granados's final revisions. Performance notes, historical information and a glossary of Spanish terms are included. This edition aids in interpretation through added fingerings, editorial pedal, and indications for subtle changes in tempo, which are integral to the performance of Spanish music. Dr. Kuehl-White studied in Barcelona with legendary Spanish pianist Alicia de Larrocha, who provided a tremendous legacy regarding the performance practice traditions of Granados's music. Titles: * Galante * Oriental * Fandango * Villanesca * Andaluza * Rondalla Aragonesa * Valenciana * Asturiana * Romántica * Melancólica * Arabesca * Bolero
Arranged and edited by guitar legend Pepe Romero this guitar duet of Spanish Dance No. 5 by Enrique Granados is a must for any collection. Book includes full score, Guitar I and Guitar II parts.
One of Enrique Granados' most famous, hauntingly beautiful, and definitely most performed pieces. This edition by Maurice Hinson of "Playera" is nicely laid out and very readable -- a perfect recital piece for early advanced level pianists.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Features 4 of the great composer's most admired, most performed suites for the piano, in definitive Spanish editions. Includes his greatest work, Goyescas, the popular Spanish Dances, plus the beautiful Escenas romanticas and Escenas poeticas.
There has long been a recognition of the adaptability of Granados' selected piano music to the guitar, starting with the great arrangements of La Maja de Goya and Dedicatoria by Granados' younger contemporary Miguel Llobet (1878-1938) and continuing through the 20th century with numerous arrangers' adaptations of the Doce danzas españolas. There may be some validity to the common notion that the success of these adaptations has to do with the essential "Spanish" character in the music manifesting so naturally on the guitar, the essential Spanish instrument. Of course, the guitar has a strong presence in Spanish culture but it can just as readily claim France or Italy as a homeland. Moreover and more particularly, it is the delicacy of texture in the writing that makes adaptation possible and sucessful. The original score of Valses Poéticos does not prescribe a transcendental pianism, or put the range and voicing capacities of the piano at the centre of the musical oration. The elegant reserve of the writing, along with some good luck, makes idiomatic arrangement possible and even allows for maintaining the original keys and key architecture in the present arrangement.
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