Exposition

Pedro Pérez de Albéniz: Fortepiano Fantasies (2019)

Julián Turiel Lobo

About this exposition

I have always felt curious about the time periods between composers such as Antonio Soler or Domenico Scarlatti, belonging to the first half of the 18th century, and others like Enrique Granados, Isaac Albeniz or Manuel de Falla, who were active between the end of the 19th-century and the first half of the 20th-century. During the last decades, research has been done about some of the most important composers of this period. Among all of them, Pedro Pérez de Albéniz (1795-1855) stands out. His importance as a composer and, above all, as a teacher was fundamental in creating a solid and successful piano school in Spain. His pianism is inspired, in order of increasing importance, by Spanish folklore, Italian opera and the pianistic writing and resources used in 19th-century Paris, and is influenced by two capital figures: Friedrich Kalkbrenner (1785-1849) and Henri Herz (1803-1888). Finally, his fantasies are the most ambitious works of his catalog. They are the ones that best exhibit the characteristics of his pianistic language. They are essential to understanding where Pedro Albéniz can be placed within the Spanish piano literature and illustrate how deep Romanticism had come at this time in the context of the Spanish piano.
typeresearch exposition
keywordsPedro Pérez de Albéniz, fortepiano, fantasy
date11/12/2017
published03/09/2019
last modified03/09/2019
statuspublished
licenseAll rights reserved
urlhttps://www.researchcatalogue.net/view/414888/414889
published inKC Research Portal
portal issue1. Master Research Projects


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583334 Instrucción metódica, especulativa y práctica para tañer la música Mateo Pérez de Albéniz (1755-1831), 1801 All rights reserved
583341 PORTRAIT OF PEDRO PÉREZ DE ALBÉNIZ Antonio Gómez y Cros (1808-1863). All rights reserved
583741 Método completo para piano, Book 1 Pedro Albéniz. Madrid, Carrafa, 1840 All rights reserved
583746 Método completo para piano, Book 2 Pedro Albéniz. Madrid, Carrafa and Lodre, 1842 All rights reserved
583752 Método completo para piano, Book 3. Pedro Albéniz. Madrid, Carrafa, 1842. All rights reserved
583833 nabucco 1 Giuseppe Verdi. Milán, Ricordi, 1963. All rights reserved
583857 Fig. 39. Più moderato from the Fantasía para piano a cuatro manos sobre motivos escogidos de la ópera Nabucodonosor de Verdi, op. 35, by P. Albéniz. (Madrid, Carrafa y Lodre, ca. 1843). B. Madrid, Carrafa and Lodre, ca. 1843 All rights reserved
583883 Fig. 40. Andantino from the Overture of the opera Nabucco by G. Verdi. (Milán, Ricordi 1963). B. Milán, Ricordi, 1963 All rights reserved
583889 Fig. 41. Andantino from the Fantasía para piano a cuatro manos sobre los motivos escogidos de Nabucco op. 35, by P. Albéniz. (Madrid; Carrafa y Lodre, 1843). B Madrid, Carrafa y Lodre, 1843. All rights reserved
583897 Fig. 42. Andante from the First scene of the Second Act of the opera Nabucco by G. Verdi. Abbigaille´s aria “Anch´i-o dischiuso un giorno”. (Milán, Ricordi, 1963). Milán, Ricordi, 1963. All rights reserved
583902 Fig. 43. Andante. Third part of the Fantasía para piano a cuatro manos sobre motivos escogidos de Nabucco, op. 36 by P. Albéniz. (Madrid; Carrafa y Lodre, ca. 1843) Madrid, Carrafa and Lodre, 1843 All rights reserved
583923 Fig. 44. Tutti of the introductory choir. Beginning of the third part of the opera Nabucco by G. Verdi. (Milán, Ricordi, 1963). B. Milán, Ricordi, 1963. All rights reserved
583933 Fig. 45. Marziale of the “Preludio, scene ed aria” that opens the Fourth part of the opera Nabucco by G. Verdi. (Milán, Ricordi, 1963). B. Giuseppe Verdi. Milán, Ricordi, 1963. All rights reserved
583936 Nabucco 9 Madrid, Carrafa and Lodre, 1843 All rights reserved
583948 Ernani Giuseppe Verdi. Milán, Ricordi, 1963. All rights reserved
583953 Fig. 48. Adagio (first part) from the Fantasía para piano a cuatro manos sobre motivos escogidos de la ópera Ernani de Verdi, by P. Albéniz. (Madrid, A. Romero, 1872). B. 1-5. Giuseppe Verdi. Milán, Ricordi, 1963. All rights reserved
583967 Fig. 49. Andante from the second scene (Act II) of the opera I Lombardi by G. Verdi. (Milán, Ricordi, 1843). Giuseppe Verdi. Milán, Ricordi, 1963. All rights reserved
583971 Fig. 50. Andante (second part) from the Fantasía para cuatro manos sobre motivos escogidos de la ópera I lombardi de Verdi, by P. Albéniz. (Madrid, Carrafa y Lodre, ca. 1843)B. 1-8. Pedro Albéniz. Madrid, Carrafa and Lodre, ca. 1843 All rights reserved
583980 Fig. 51. Andantino from the Introduzione del prologo of the opera Attila by G. Verdi. (Milán, Ricordi, 1846). Giuseppe Verdi. Milán, Ricordi, 1963. All rights reserved
583988 Fig. 52. Andantino from the Fantasía para piano a cuatro manos sobre motivos escogidos de la ópera Attila de Verdi, by P. Albéniz. (Madrid, Carrafa and Lodre, ca. 1847). Madrid, Carrafa and Lodre, 1842 All rights reserved
584155 Fig. 53. Opening statement of the Allegro Strepitoso from the Fantasía sobre un motivo vasco antiguo, op. 42 by P. Albéniz. (Madrid, Lodre, ca.1840). B. 1-3. Pedro Albéniz. Madrid, Carrafa and Lodre, ca. 1840 All rights reserved
584159 Fig. 53. Main motif of the Moderato from the Fantasía sobre un motivo vasco antiguo, op. 42 by P. Albéniz. (Madrid, Lodre, ca. 1840). B. 12-3 Pedro Albéniz. Madrid, Carrafa and Lodre, ca. 1840 All rights reserved
584171 Fig. 54. First theme from the Fantasía sobre un motivo vasco antiguo, op. 42 by P. Albéniz. (Madrid, Lodre, ca. 1840). B. 33-40. Madrid, Carrafa and Lodre, ca. 1840 All rights reserved
584180 Fig. 55. Second part of Meno mosso from the Fantasía sobre un motive vasco antiguo, op. 42 by P. Albéniz. (Madrid, Lodre, 1840). B. 74-6. Madrid, Carrafa y Lodre, ca. 1840. All rights reserved
584186 Fig. 56. Part A of the Second theme or basque motif from the Fantasía sobre un motivo vasco antiguo, op. 42 by P. Albéniz. (Madrid, Lodre, ca. 1840). B. 83-86. Madrid, Carrafa y Lodre, ca. 1840. All rights reserved
584196 Fig. 57. Part B of the Second theme or Basque motif from the Fantasía sobre un motivo vasco antiguo, op. 42 by P. Albéniz. (Madrid, Lodre, ca. 1840). B. 99-102. Madrid, Carrafa and Lodre, ca. 1840 All rights reserved
584208 Fig. 58. Excerpt of the more challenging version of the theme. Second variation of the second theme from the Fantasía sobre un motivo vasco antiguo, op. 42 by P. Albéniz. (Madrid, Carrafa, ca. 1840). B. 180-5. Madrid, Carrafa and Lodre, ca. 1840 All rights reserved
584222 Fig. 58. Introduction (Andante con moto) from the fantasy Lucia di Lammermoor, op. 34 by P. Albéniz. (Madrid, Carrafa and Lodre, ca. 1844). B. 1-2. Madrid, Carrafa and Lodre, ca. 1844 All rights reserved
584226 Fig. 60. Funeral march from the fantasy Lucia di Lammermoor, op. 34 by P. Albéniz. (Madrid, Carrafa and Lodre, 1844). B. 14-7. Madrid, Carrafa and Lodre, 1844 All rights reserved
584230 Fig. 62. Moderato from the fantasy Lucia di Lammermoor, op. 34 by P. Albéniz. (Madrid, Carrafa and Lodre, 1844). B. Madrid, Carrafa and Lodre, 1844 All rights reserved
584253 Fig. 63. First motif as it is presented in the opening statement. Vivace of the fantasy Lucia di Lammermoor, op. 34 by P. Albéniz. (Madrid, Carrafa and Lodre, 1844). B. Madrid, Carrafa and Lodre, 1844 All rights reserved
584255 Fig. 64. First motif with a different accompaniment. Vivace of the fantasy Lucia di Lammermoor, op. 34 by P. Albéniz.(Madrid, Carrafa and Lodre, 1844). B. Madrid, Carrafa and Lodre, 1844 All rights reserved
584258 Fig. 65. Second motif as it is presented the first time. Vivace of the fantasy Lucia di Lammermoor, op. 34 by P. Albéniz. (Madrid, Carrafa and Lodre, 1844) B. Madrid, Carrafa and Lodre, 1844 All rights reserved
584264 Fig. 65. Second motif as it is presented the first time. Vivace of the fantasy Lucia di Lammermoor, op. 34 by P. Albéniz. (Madrid, Carrafa and Lodre, 1844) B. Madrid, Carrrafa and Lodre, 1844. All rights reserved
584267 Fig. 66.Second motif as it is presented the first time. Vivace of the fantasy Lucia di Lammermoor, op. 34 by P. Albéniz. (Madrid, Carrafa and Lodre, 1844). B. Madrid, Carrafa and Lodre, 1844 All rights reserved
584280 Fig. 68. Theme of the Andante from the fantasy Lucia di Lammermoor, op. 34 by P. Albéniz. (Madrid, Carrafa and Lodre, 1844). B. Madrid, Carrafa and Lodre, 1844 All rights reserved
584283 Fig. 69. Different version of the previous example, from the fantasy Lucia di Lammermoor, op. 34 by P. Albéniz. (Madrid, Carrafa and Lodre, 1844). B. Madrid, Carrafa and Lodre, 1844 All rights reserved
584285 Fig. 70. Apotheosic end of the fantasy Lucia di Lammermoor, op. 34 by P. Albéniz. (Madrid, Carrafa and Lodre, 1844). Madrid, Carrafa and Lodre, 1844 All rights reserved
584289 Fig. 71. Opening statement from the Fantasía elegante para pianoforte sobre motivos escogidos de la ópera I Puritani de Bellini by P. Albéniz (Madrid, Carrafa and Lodre, 1831). B. 1-4. Madrid, Carrafa, 1831 All rights reserved
584306 Fig. 72. Meno vivo. Second part of the Fantasía Elegante by P. Albéniz. (Madrid, Carrafa and Lodre, 1831). B. Madrid, Carrafa, 1831 All rights reserved
584308 Fig. 73. Larguetto maestoso from the Fantasía Elegante by P. Albéniz. (Madrid, Carrafa, 1831). B. Madrid, Carrafa, 1831 All rights reserved
584313 Fig. 74. Preghiera religiosa (La luna, il sol, le stelle) for Soprano (Elvira), Tenore (Arturo) e due Bassi (Ricardio and Giorgio) from the Opera I Puritani by Vicenzo Bellini. (Milán, Ricordi, P. 19 (B. ) Madrid, Carrafa, 1831 All rights reserved
584317 Fig. 75. Allegretto from the Fantasia Elegante sobre motivos de I Puritani, by P. Albéniz. (Madrid, Carrafa and Lodre, 1831). B. Madrid, Carrafa, 1831 All rights reserved
584319 Fig. 76. Preghiera religiosa (La luna, il sol, le stelle) for Soprano (Elvira), Tenore (Arturo) e due Bassi (Ricardio and Giorgio) from the Opera “I Puritani” by Vicenzo Bellini. Ricordi, P. 23 Madrid, Carrafa, 1831 All rights reserved
584329 Fig. 77. Preghiera religiosa (La luna, il sol, le stelle) for Soprano (Elvira), Tenore (Arturo) e due Bassi (Ricardio and Giorgio) from the Opera “I Puritani” by Vicenzo Bellini. Ricordi, P. 25 Madrid, Carrafa, 1831 All rights reserved
584331 Fig. 78 Orchestral tutti of the Allegro sostenuto e marziale from the first act of the Opera “I Puritani” by Bellini. (Milán Ricordi) Madrid, Carrafa, 1831 All rights reserved
584334 Fig. 79. Allegro sostenuto e marziale of the Fantasía Elegante by P. Albéniz.(Madrid, Carrafa, 1831). B. Madrid, Carrafa, 1831 All rights reserved
584834 Script of "Drawing his life" Iris-Sanne Van de Aar , Gabriela Galeano and Julián Turiel All rights reserved
584872 PEDRO ALBÉNIZ: DRAWING HIS LIFE Iris-Sanne Van de Aar, Gabriela Galeano and Julián Turiel All rights reserved
586394 Francisco fernandez Hazen Collection, Las Rozas (Madrid) All rights reserved
586416 Fig. 3. Hosseschrueders and nephews, Square piano (Las Rozas-Madrid, 1830). Hazen Collection, Las Rozas (Madrid) All rights reserved
586431 Fig. 4. José Larrú, Square Piano (Las Rozas-Madrid, 1850). Range: 6 octaves. English double mechanism with vertical dampers. Double strings. Pedal missing. Hazen Collection, Las Rozas (Madrid) All rights reserved
586675 Fig. 5. La tortolilla (Little pidgeon), first of the two Contradanzas bailadas by P. Albéniz (Madrid, ca. 1843). B. 1-2 Madrid, ca. 1843. All rights reserved
586688 Fig. 6. La Paloma mensajera (The carrier pidgeon), second of the two Contradanzas bailadas by P. Albéniz (Madrid, ca. 1843). B. 1-4. Madrid, ca. 1843. All rights reserved
586700 Contradanzas bailadas. Performed by Julián Turiel. June 2018. Julián Turiel All rights reserved
586739 Fig. 7. Rhythmic pattern of Seguidillas. Piano introduction of Seguidillas, Castilian song from Madrid, belonging to the Corona musical de canciones españolas. (Madrid, Lodre, 1852). Poem by M. López and Music by Maestro Inzenga. Madrid, Lodre, 1852. All rights reserved
586773 Mateo Albéniz. Sonata in D major. Perfomer: Julián Turel. June 2018. Julián Turiel All rights reserved
586786 Fig. 8. La gracia de Córdoba, op. 38, capricho para cuatro manos, from Danzas Características Españolas by P. Albéniz (Madrid, Carrafa and Lodre, 1845). B.5-8. Madrid, Carrafa and Lodre, 1845 All rights reserved
586800 Fig. 9. Fandango motif from El fandango y la jota, part of the Pot-pourrí de aires nacionales con nuevos cantos y variaciones, op. 35 by F. Lahoz. (Madrid, ) Madrid, Carrafa and Lodre, ca. 1845 All rights reserved
586815 Fig. 10. El chiste de Málaga, op. 37, capricho para cuatro manos, from Danzas Características Españolas by Pedro Albéniz (Madrid, Carrafa y Lodre, ca. 1845). B. 11-17. Madrid, Carrafa and Lodre, ca. 1845 All rights reserved
586826 Fig. 11. El polo nuevo, op. 41, capricho para cuatro manos, from Danzas Características Españolas (Madrid, Carrafa and Lodre, 1845). B.24-31. Madrid, Carrafa and Lodre, 1845 All rights reserved
586841 Fig. 12. Piano introduction of the Zorzico, dedicated to the famous Spanish Azara, from the Corona musical de canciones españolas.. Poem by Echegaray and music by Pedro Albéniz. (Madrid, Lodre, ca. 1852). Madrid, Lodre, ca. 1852 All rights reserved
586847 Fig. 13. La Tirana del Trípili. Spanish popular song whose most recognized authorship belongs to Blas de Laserna. Tirana with accompaniment of Piano and Guitar. (Madrid, Carrafa, 1850). Madrid, Carrafa, 1850. All rights reserved
586855 Fig. 14. Quote of La Tirana del Trípili in G major. Rondó brillante para piano sobre los temas del Trípili y la Cachucha, op. 25 by Pedro Albéniz. (Madrid, ca. 1825). B. 46-54. (Madrid, Carrafa, ca. 1825) All rights reserved
586867 Fig. 15. Quote of La Tirana del Trípili in B major. Rondó brillante a la Tirana sobre los temas del Trípili y la Cachucha, op. 22 by P. Albéniz. (Madrid, ca. 1825). Madrid, Carrafa, ca. 1825 All rights reserved
586879 Fig. 16. La Tirana del Trípili quoted in Los Requiebros (from Goyescas, 1909-11) by Enrique Granados (1867-1916). (Barcelona, Casa Dostesio, 1912). B. 1-12. Barcelona, Casa Dostesio, 1912. All rights reserved
586890 Fig. 17. Quote of the cachucha in the Rondó brillante a la Tirana sobre los temas del Trípili y la Cachucha, op. 25. (Madrid, ca. 1825). B. 77-80. Madrid, Carrafa, ca. 1825 All rights reserved
586927 Pedro Albéniz. El Anfión matritense. Waltz in G major. Performer: Julián Turiel. June 2018. Julián Turiel All rights reserved
586931 Fig. 18. Introduction from El Anfión Matritense, Waltz in G major by P. Albéniz. (Madrid, Carrafa and Lodre, 1843). B. 1-8. Madrid, Carrafa and Lodre, 1843. All rights reserved
586938 Fig. 19. Theme from El Anfión Matritense, Waltz in G major by P. Albéniz. (Madrid, Carrafa and Lodre, 1843). B. 1-8. Madrid, Carrafa and Lodre, 1843 All rights reserved
586942 Fig. 20. Coda from El Anfión Matritense, Waltz in G major by P. Albéniz. (Madrid, Carrafa and Lodre, 1843). Madrid, Carrafa and Lodre, 1843 All rights reserved
586946 Fig. 21. Introduction from the Notturno “La Isla de la Cascada de Aranjuez”, op. 70 by P. Albéniz. (Madrid, ca. 1840). B. 1-5. Madrid, Carrafa and Lodre, ca. 1840 All rights reserved
586950 Fig. 22. Andantino, theme from the Notturno “La Isla de la Cascada de Aranjuez”, op. 70 by P. Albéniz. (Madrid, ca. 1840).B. 24-28. Madrid, Carrafa and Lodre, ca. 1840. All rights reserved
586961 Fig. 23. Variation of the theme from the Notturno “La Isla de la Cascada de Aranjuez”, op. 70 by P. Albéniz. (Madrid, ca. 1840). B. 69-73. Madrid, Carrafa and Lodre, ca. 1840 All rights reserved
586994 Fig. 24. Tempo di Marcia from the Variaciones brillantes sobre el Himno de Riego, op. 28, by P. Albéniz. (Madrid, Carrafa y Lodre, ca. 1825). B. 1-6. Madrid, Carrafa and Lodre, 1824 All rights reserved
586998 Fig. 25. Larguetto from the Variaciones brillantes sobre la introducción de la Norma de Bellini, op. 27, by P. Albéniz. (Madrid, Carrafa, ca. 1832). B. 15-21. Madrid, Carrafa and Lodre, ca. 1832 All rights reserved
587003 Fig. 26. Himno de Riego, Marziale. Theme from the Variaciones brillantes sobre el himno de Riego, op. 28 by P. Albéniz. (Madrid, Carrafa and Lodre, 1825) B. 1-8. Madrid, carrafa, 1832 All rights reserved
587014 Fig. 27. Himno de Riego [Riego´s Anthem]. Chorus of the Variaciones Brillantes sobre el Himno de Riego, op. 28. (Madrid, Carrafa and Lodre, 1825) Madrid, Carrafa and Lodre, 1825. All rights reserved
587018 Fig. 28. Andantino. Theme from the Variaciones brillantes sobre la introducción from Norma by Bellini, op. 27 by P. Albéniz. (Madrid, Carrafa, 1832). B. 1-8. Madrid, Carrafa, 1832 All rights reserved
587023 Fig. 29. Andante mosso. Section of the introduction to the first Act of the opera Norma by V. Bellini. (Leipzig, Ed. Peters, 1872). P. 10. Leipzig, Peters, 1872 All rights reserved
587025 Fig. 27. Moderato. Theme from the Variaciones brillantes sobre el tema favorito “Mira, oh Norma, ai tuoi ginocchi” by Bellini, op. 33 (Madrid, Carrafa and Lodre, 1831) by P. Albéniz. B. 1-8. Madrid, Carrafa and Lodre, 1831. All rights reserved
587027 Fig. 27. Moderato. Theme from the Variaciones brillantes sobre el tema favorito “Mira, oh Norma, ai tuoi ginocchi” by Bellini, op. 33 (Madrid, Carrafa and Lodre, 1831) by P. Albéniz. B. 1-8. Madrid, Carrafa and Lodre, 1831 All rights reserved
587038 Fig. 30. Andante from the second scene of the second act from Norma by V. Bellini. (Leipzig, Ed. Peters, 1872). P. 105. (B.). Madrid, Carrafa and Lodre, 1831 All rights reserved
587053 Fig. 31. First variation of the Variaciones sobre el himno de Riego, op. 28, by P. Albéniz. The head of the theme is presented in the left hand. (Madrid, Carrafa and Lodre, ca. 1825). B. 1-4. Madrid, Carrafa, 1825 All rights reserved
587065 Fig. 32. Second variation of the Variaciones sobre el himno de Riego, op. 28, by P. Albéniz. The head of the theme is presented in the right hand. (Madrid, Carrafa and Lodre, ca. 1825). B. 1-4. Madrid, Carrafa, 1825 All rights reserved
587072 Fig. 33. Third variation of the Variaciones sobre el tema favorito “Mira, oh Norma, ai tuoi ginocchi” by Bellini, op. 33, by P. Albéniz. (Madrid, Carrafa and Lodre, ca. 1831). B. 1-4. Madrid, Carrafa, 1831 All rights reserved
587077 Fig. 34. Third variation of the Variaciones sobre la introducción de la Norma by Bellini, op. 27, by P. Albéniz. (Madrid, Carrafa, ca. 1832). B. 1-4. Madrid, Carrafa and Lodre, 1831 All rights reserved
587084 Fig. 35. Coda of the Variaciones sobre el tema favorite “Mira, Oh Norma, ai tuoi ginocchi” de la Norma de Bellini, op.33 by P. Albéniz. (Madrid, Carrafa and Lodre, ca. 1831). Madrid, Carrafa, 1831. All rights reserved
587091 Fig. 36. Entrance of the soloist with the piano doubling the melody. Finale of the Variaciones brillantes sobre el himno de Riego, op. 28, by P. Albéniz. (Madrid, Carrafa and Lodre, ca. 1825). Madrid, Carrafa, 1825 All rights reserved
587098 Fig. 37. Entrance of the choir with the piano. The right hand plays the melody and the left makes the counterpoint in octaves. Finale of the Variaciones brillantes sobre el himno de Riego, op. 28, by P. Albéniz. (Madrid, Carrafa and Lodre, ca. 1825). Madrid, Carrafa, 1825. All rights reserved
587621 FAMILY TREE OF SPANISH PIANO FROM NINETEENTH CENTURY TILL NOW Julián Turiel All rights reserved
587627 FAMILY TREE OF SPANISH PIANO FROM NINETEENTH CENTURY TILL NOW Julián Turiel All rights reserved
588035 Paquita Rico.- Trípili, trápala (De la película La Tirana ).480p La Tirana All rights reserved
589084 placeholder RC All rights reserved
589436 arrow test All rights reserved
589438 arrow Casper Schipper All rights reserved
589568 arrow nothign All rights reserved

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