Exposition

Pedro Pérez de Albéniz: Fortepiano Fantasies (2019)

Julián Turiel Lobo
open exposition

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
share statusprivate
licenseAll rights reserved
urlhttps://www.researchcatalogue.net/view/414888/414889
doihttps://doi.org/10.22501/koncon.414888
published inKC Research Portal
portal issue1. Master Research Projects


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namearrow
copyrightCasper Schipper
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nameplaceholder
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usagespicture, picture, picture, picture, picture, picture, picture, picture, picture, picture, picture, picture, picture
nameInstrucción metódica, especulativa y práctica para tañer la música
copyrightMateo Pérez de Albéniz (1755-1831), 1801
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usagespdf
namePORTRAIT OF PEDRO PÉREZ DE ALBÉNIZ
copyrightAntonio Gómez y Cros (1808-1863).
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usagespicture
nameMétodo completo para piano, Book 1
copyrightPedro Albéniz. Madrid, Carrafa, 1840
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usagespdf
nameMétodo completo para piano, Book 2
copyrightPedro Albéniz. Madrid, Carrafa and Lodre, 1842
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usagespdf
nameMétodo completo para piano, Book 3.
copyrightPedro Albéniz. Madrid, Carrafa, 1842.
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usagespdf
namePEDRO ALBÉNIZ: DRAWING HIS LIFE
copyrightIris-Sanne Van de Aar, Gabriela Galeano and Julián Turiel
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usagesvideo
nameFAMILY TREE OF SPANISH PIANO FROM NINETEENTH CENTURY TILL NOW
copyrightJulián Turiel
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usagespdf
nameFrancisco fernandez
copyrightHazen Collection, Las Rozas (Madrid)
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usagespicture
nameFig. 3. Hosseschrueders and nephews, Square piano (Las Rozas-Madrid, 1830).
copyrightHazen Collection, Las Rozas (Madrid)
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nameFig. 4. José Larrú, Square Piano (Las Rozas-Madrid, 1850). Range: 6 octaves. English double mechanism with vertical dampers. Double strings. Pedal missing.
copyrightHazen Collection, Las Rozas (Madrid)
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usagespicture
nameFig. 5. La tortolilla (Little pidgeon), first of the two Contradanzas bailadas by P. Albéniz (Madrid, ca. 1843). B. 1-2
copyrightMadrid, ca. 1843.
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usagespicture
nameFig. 6. La Paloma mensajera (The carrier pidgeon), second of the two Contradanzas bailadas by P. Albéniz (Madrid, ca. 1843). B. 1-4.
copyrightMadrid, ca. 1843.
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usagespicture
nameContradanzas bailadas. Performed by Julián Turiel. June 2018.
copyrightJulián Turiel
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usagesaudio
nameFig. 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.
copyrightMadrid, Lodre, 1852.
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usagespicture
nameMateo Albéniz. Sonata in D major. Perfomer: Julián Turel. June 2018.
copyrightJulián Turiel
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usagesaudio
nameFig. 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.
copyrightMadrid, Carrafa and Lodre, 1845
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usagespicture
nameFig. 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, )
copyrightMadrid, Carrafa and Lodre, ca. 1845
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nameFig. 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.
copyrightMadrid, Carrafa and Lodre, ca. 1845
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nameFig. 11. El polo nuevo, op. 41, capricho para cuatro manos, from Danzas Características Españolas (Madrid, Carrafa and Lodre, 1845). B.24-31.
copyrightMadrid, Carrafa and Lodre, 1845
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nameFig. 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).
copyrightMadrid, Lodre, ca. 1852
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nameFig. 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).
copyrightMadrid, Carrafa, 1850.
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nameFig. 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.
copyright(Madrid, Carrafa, ca. 1825)
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nameFig. 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).
copyrightMadrid, Carrafa, ca. 1825
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nameFig. 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.
copyrightBarcelona, Casa Dostesio, 1912.
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nameFig. 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.
copyrightMadrid, Carrafa, ca. 1825
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usagespicture
namePedro Albéniz. El Anfión matritense. Waltz in G major. Performer: Julián Turiel. June 2018.
copyrightJulián Turiel
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usagesaudio
nameFig. 18. Introduction from El Anfión Matritense, Waltz in G major by P. Albéniz. (Madrid, Carrafa and Lodre, 1843). B. 1-8.
copyrightMadrid, Carrafa and Lodre, 1843.
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nameFig. 19. Theme from El Anfión Matritense, Waltz in G major by P. Albéniz. (Madrid, Carrafa and Lodre, 1843). B. 1-8.
copyrightMadrid, Carrafa and Lodre, 1843
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nameFig. 20. Coda from El Anfión Matritense, Waltz in G major by P. Albéniz. (Madrid, Carrafa and Lodre, 1843).
copyrightMadrid, Carrafa and Lodre, 1843
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usagespicture
nameFig. 21. Introduction from the Notturno “La Isla de la Cascada de Aranjuez”, op. 70 by P. Albéniz. (Madrid, ca. 1840). B. 1-5.
copyrightMadrid, Carrafa and Lodre, ca. 1840
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nameFig. 22. Andantino, theme from the Notturno “La Isla de la Cascada de Aranjuez”, op. 70 by P. Albéniz. (Madrid, ca. 1840).B. 24-28.
copyrightMadrid, Carrafa and Lodre, ca. 1840.
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nameFig. 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.
copyrightMadrid, Carrafa and Lodre, ca. 1840
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nameFig. 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.
copyrightMadrid, Carrafa and Lodre, 1824
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nameFig. 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.
copyrightMadrid, Carrafa and Lodre, ca. 1832
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nameFig. 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.
copyrightMadrid, carrafa, 1832
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nameFig. 27. Himno de Riego [Riego´s Anthem]. Chorus of the Variaciones Brillantes sobre el Himno de Riego, op. 28. (Madrid, Carrafa and Lodre, 1825)
copyrightMadrid, Carrafa and Lodre, 1825.
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nameFig. 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.
copyrightMadrid, Carrafa, 1832
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nameFig. 29. Andante mosso. Section of the introduction to the first Act of the opera Norma by V. Bellini. (Leipzig, Ed. Peters, 1872). P. 10.
copyrightLeipzig, Peters, 1872
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nameFig. 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.
copyrightMadrid, Carrafa and Lodre, 1831
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nameFig. 30. Andante from the second scene of the second act from Norma by V. Bellini. (Leipzig, Ed. Peters, 1872). P. 105. (B.).
copyrightMadrid, Carrafa and Lodre, 1831
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nameFig. 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.
copyrightMadrid, Carrafa, 1825
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nameFig. 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.
copyrightMadrid, Carrafa, 1825
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nameFig. 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.
copyrightMadrid, Carrafa, 1831
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nameFig. 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.
copyrightMadrid, Carrafa and Lodre, 1831
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nameFig. 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).
copyrightMadrid, Carrafa, 1831.
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nameFig. 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).
copyrightMadrid, Carrafa, 1825
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nameFig. 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).
copyrightMadrid, Carrafa, 1825.
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usagespicture
namePaquita Rico.- Trípili, trápala (De la película La Tirana ).480p
copyrightLa Tirana
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usagesvideo
namenabucco 1
copyrightGiuseppe Verdi. Milán, Ricordi, 1963.
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usagespicture
nameFig. 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.
copyrightMadrid, Carrafa and Lodre, ca. 1843
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usagespicture
nameFig. 40. Andantino from the Overture of the opera Nabucco by G. Verdi. (Milán, Ricordi 1963). B.
copyrightMilán, Ricordi, 1963
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nameFig. 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
copyrightMadrid, Carrafa y Lodre, 1843.
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nameFig. 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).
copyrightMilán, Ricordi, 1963.
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nameFig. 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)
copyrightMadrid, Carrafa and Lodre, 1843
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nameFig. 44. Tutti of the introductory choir. Beginning of the third part of the opera Nabucco by G. Verdi. (Milán, Ricordi, 1963). B.
copyrightMilán, Ricordi, 1963.
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nameFig. 45. Marziale of the “Preludio, scene ed aria” that opens the Fourth part of the opera Nabucco by G. Verdi. (Milán, Ricordi, 1963). B.
copyrightGiuseppe Verdi. Milán, Ricordi, 1963.
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nameNabucco 9
copyrightMadrid, Carrafa and Lodre, 1843
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nameErnani
copyrightGiuseppe Verdi. Milán, Ricordi, 1963.
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nameFig. 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.
copyrightGiuseppe Verdi. Milán, Ricordi, 1963.
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nameFig. 49. Andante from the second scene (Act II) of the opera I Lombardi by G. Verdi. (Milán, Ricordi, 1843).
copyrightGiuseppe Verdi. Milán, Ricordi, 1963.
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nameFig. 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.
copyrightPedro Albéniz. Madrid, Carrafa and Lodre, ca. 1843
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nameFig. 51. Andantino from the Introduzione del prologo of the opera Attila by G. Verdi. (Milán, Ricordi, 1846).
copyrightGiuseppe Verdi. Milán, Ricordi, 1963.
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nameFig. 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).
copyrightMadrid, Carrafa and Lodre, 1842
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nameFig. 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.
copyrightPedro Albéniz. Madrid, Carrafa and Lodre, ca. 1840
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nameFig. 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
copyrightPedro Albéniz. Madrid, Carrafa and Lodre, ca. 1840
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nameFig. 54. First theme from the Fantasía sobre un motivo vasco antiguo, op. 42 by P. Albéniz. (Madrid, Lodre, ca. 1840). B. 33-40.
copyrightMadrid, Carrafa and Lodre, ca. 1840
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nameFig. 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.
copyrightMadrid, Carrafa y Lodre, ca. 1840.
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nameFig. 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.
copyrightMadrid, Carrafa y Lodre, ca. 1840.
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nameFig. 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.
copyrightMadrid, Carrafa and Lodre, ca. 1840
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nameFig. 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.
copyrightMadrid, Carrafa and Lodre, ca. 1840
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usagespicture
nameFig. 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.
copyrightMadrid, Carrafa and Lodre, ca. 1844
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usagespicture
nameFig. 60. Funeral march from the fantasy Lucia di Lammermoor, op. 34 by P. Albéniz. (Madrid, Carrafa and Lodre, 1844). B. 14-7.
copyrightMadrid, Carrafa and Lodre, 1844
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nameFig. 62. Moderato from the fantasy Lucia di Lammermoor, op. 34 by P. Albéniz. (Madrid, Carrafa and Lodre, 1844). B.
copyrightMadrid, Carrafa and Lodre, 1844
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nameFig. 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.
copyrightMadrid, Carrafa and Lodre, 1844
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nameFig. 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.
copyrightMadrid, Carrafa and Lodre, 1844
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nameFig. 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.
copyrightMadrid, Carrrafa and Lodre, 1844.
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nameFig. 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.
copyrightMadrid, Carrafa and Lodre, 1844
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nameFig. 68. Theme of the Andante from the fantasy Lucia di Lammermoor, op. 34 by P. Albéniz. (Madrid, Carrafa and Lodre, 1844). B.
copyrightMadrid, Carrafa and Lodre, 1844
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nameFig. 69. Different version of the previous example, from the fantasy Lucia di Lammermoor, op. 34 by P. Albéniz. (Madrid, Carrafa and Lodre, 1844). B.
copyrightMadrid, Carrafa and Lodre, 1844
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nameFig. 70. Apotheosic end of the fantasy Lucia di Lammermoor, op. 34 by P. Albéniz. (Madrid, Carrafa and Lodre, 1844).
copyrightMadrid, Carrafa and Lodre, 1844
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usagespicture
nameFig. 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.
copyrightMadrid, Carrafa, 1831
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nameFig. 72. Meno vivo. Second part of the Fantasía Elegante by P. Albéniz. (Madrid, Carrafa and Lodre, 1831). B.
copyrightMadrid, Carrafa, 1831
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nameFig. 73. Larguetto maestoso from the Fantasía Elegante by P. Albéniz. (Madrid, Carrafa, 1831). B.
copyrightMadrid, Carrafa, 1831
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usagespicture
nameFig. 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. )
copyrightMadrid, Carrafa, 1831
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nameFig. 75. Allegretto from the Fantasia Elegante sobre motivos de I Puritani, by P. Albéniz. (Madrid, Carrafa and Lodre, 1831). B.
copyrightMadrid, Carrafa, 1831
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nameFig. 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
copyrightMadrid, Carrafa, 1831
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nameFig. 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
copyrightMadrid, Carrafa, 1831
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nameFig. 78 Orchestral tutti of the Allegro sostenuto e marziale from the first act of the Opera “I Puritani” by Bellini. (Milán Ricordi)
copyrightMadrid, Carrafa, 1831
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nameFig. 79. Allegro sostenuto e marziale of the Fantasía Elegante by P. Albéniz.(Madrid, Carrafa, 1831). B.
copyrightMadrid, Carrafa, 1831
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namearrow
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