Bassoons take the place of the horns, and second clarinet the place of second bassoon. That was the source of my restriction in the guidelines for the orchestration challenge: no direct-to-harp transcriptions of the first idea’s right hand, or the second idea’s left hand. 95 from 100 MORE Orchestration Tips, to be released March 2020) Compared to a unmuted tone, (Tip no. Browse more videos. Figure C was the funnest section to score by far. Of course, as a serenade, those elements are obviously a guitar and solo singer. Figure D is an out-and-out da capo al fine, and could easily have been scored as such by the composer. IIA 45 Movements/Sections Mov'ts/Sec's: 8 movements: Granada - Serenata (Allegretto, F major) Cataluña - Curranda (Allegro, G minor) Sevilla - Sevillana (no tempo, G major) Cádiz - Saeta 30 from 100 MORE Orchestration Tips) The use of an A extension may give you an extra half-s, (Tip no. The grandiosity of the passage begged for a larger scale of scoring than ten fingers allowed for in the original. In fact, "Granada", "Sevilla", "Cadiz" and "Asturias" are more often heard on guitar than in their original piano versions; all four have been staples of the guitar literature since early in the 20th century. What I scored instead for the opening of Granada was a series of pulsing chords alternating between strings and winds. Solo cello returns, backed by bassoon and bass clarinet. Then check out the answering chords in flutes and clarinets. Suite espagnole : Granada (Sérénade) Songtext von Isaac Albéniz mit Lyrics, deutscher Übersetzung, Musik-Videos und Liedtexten kostenlos auf Songtexte.com Forty straight bars of harps imitating a guitar does very little to illustrate this in my view, with all respect to Frühbeck (his arrangement is excellent in other ways, heavily Romantic rather than picturesque). The alternating chords are nearly the same as the opening, but with the top staff of violin I + cellos continuing to double with oboe and cor anglais in alternating phrases with solo cello. The Spanish flavour and rhythm easily adapts itself to this approach, while the role of the guitar is taken by long rolls every couple of bars traded off between the harps. Isaac Albeniz - 8. The result is a glowing, radiant tone, almost like a super-cello – or at least it will be if the players carefully balance their parts. 1, Op. The merest touch of background brass gives everything radiance and scope. Romantic Period, Classical Period. Schließlich floh er im Alter von zwölf Jahren als blinder Passagier auf einem Schiff nach Puerto Rico, von dort weiter nach Buenos Aires, dann n… I’ve simply pasted the opening here, as I feel the scoring is perfectly fine as a repeat. Performed on a piano by Guillermo Gonzalez, Learn how and when to remove this template message, Suite española Op. Granada is subtitled “Serenata” – in other words, a serenade. In the works constituting the Suite española, the first title makes reference to the region that each piece represents and the subtitle in brackets indicates the musical form of the dance of the region. Playing next. Pizzicato lower strings are rounded out by bassoon and bass clarinet. We’ll be orchestrating a piano piece of a master composer, one that he never got around to arranging himself. Here the original piano score becomes more intimate, more lonely, like a balmy, quiet night under a waning moon. 23,- € Rumores de la caleta malaguena 2 Gitarre Albeniz Isaac 2 Gitarre. Like many of Albeniz’s works for the piano, these pieces depict different regions and musical styles in Spain. The other pieces had been published in other editions and sometimes with different titles (Asturias was originally the prelude from the suite Chants d'Espagne). Clear, yearning wind solos make their statements and then hold their last notes over ensuing phrases. Likewise, I felt that only two bassoons were required. Woodwind Octaves, Part 2: Relationships Within Families. Although it was published after his death, the “Suite Espanola” by Isaac Albéniz is one of his works for piano most played by concert performers. But bars 114 and 116 need trombone in order to clarify such a low and quick series of notes under the pizzicato antics. Die einzelnen Tanzsätze der Suite Espagnole von Isaac Albéniz entstanden unabhängig voneinander zwischen 1886 und 1899. My favourite touch here – the final note of the passage, a stark bass clarinet moodily opening the door to the next idea. Have a look at that first element I mentioned in the paragraph above, the alternating chords, in the score below. The chords become alternating, weaving figures in winds and strings, with a touch of trills and harmonics to break up the regularity of motion. Orchestration Tip: Bisbigliando is Vewy Vewy Quiet! 47: Granada from Isaac Albéniz's Iberia and see the artwork, lyrics and similar artists. For the first movement of his very successful Suite Española no. The wait is nearly over, and will be followed by another Orchestration Challenge in a completely different direction. As the first idea winds to a close from bar 31, I use a mixture of elements from both the first and second overall orchestral approaches. "Castilla" (Seguidillas) evokes a seguidilla, a song and dance of southern Spain that alternates sung lines with guitar interludes. I’ve been thinking about the discrete differences inherent in woodwind ranges while preparing my wind orchestration courses, so this came easily to mind. "Cataluña" and "Cuba" became solo guitar staples in the 1980s. No. Bar 75 initiates another echo, this one of the opening passage. Discover releases, reviews, track listings, recommendations, and more about Albéniz* : Frühbeck De Burgos*, New Philharmonia* - Suite Española at Discogs. This page lists all recordings of Granada (from Suite española No. The only other thing worth mentioning is the scoring of last four bars. I took Albeniz’s flamenco suggestion and made it into a full-scale gesture, with alternating up/down strums in the strings pushed by a tambourine pattern. The written A3 at bars 113 and 115 is a penetrating note for bass clarinet, and needs little help. 16,- € Granada 3 Gitarre Albeniz Isaac 3 Gitarre. 91 from 100 MORE Orchestration, (Tip no. After that guided tour, have another look and perhaps a listen as well with the mockup track link to Soundcloud below. It is mainly composed of works written in 1886 which were grouped together in 1887, in honour of the Queen of Spain. The suite has been orchestrated by other hands, including a well-known version by Rafael Frühbeck de Burgos. Kostenlose Noten, alle mit Hörbeispiel und Einzelstimmentrainer. 75 from 100 MORE Orchestration Tips, to be released March 2020) No matter how much a compos, (Tip no. For the average arranger, these elements are a gimme. Arrangements of individual works and indeed the entire suite are often played in concert by classical guitarists. Certainly contrabassoon had no room in my plans for this score. A clear example of this is Asturias (Leyenda), whose Andalusian Flamenco rhythms have little to do with the Atlantic region of Asturias. The melody was very reminiscent of Spanish trumpet playing, but dipped down into a range that wasn’t the fullest for a C trumpet. Cellos alternate between a lush arco, and a crisp pizzicato backed by bass clarinet. Though the individual components are nearly the same in approach, they’re voiced and placed differently across the harmony, sounding more like cooing and twittering. It is mainly composed of works written in 1886 which were grouped together in 1887, in honour of the Queen of Spain. Piano Solo — — Romantic Period,Classical Period Composed by Isaac Albeniz (1860-1909). Suite Española No.1 Alt ernative. Isaac Albéniz ’s Suite española, Op. From Granada in Andalusia there is a Serenata, from Catalonia a Curranda or Courante, from Sevilla a Sevillanas and from Cuba (which was still part of Spain in the 1880s) a Notturno in the style of a habanera, from Castile a seguidillas, from Aragon a Fantasia in the style of a jota, and from Cadiz a saeta. I can’t wait to share those with you, so please stand by. The echo of the first half of this episode called for a much calmer mood, but still requiring added tremolo violin icing rising toward the opening of the next passage. Figure B is a mirror of Figure A. This last example, like Asturias (Leyenda), is geographically inaccurate. Piano at Nataf, 1st Season, Concert 6, 17.5.12 (1.6.A.1)Isaac Albéniz (1860 -- 1909), Suite Española: 1. I solved this problem fairly simply, by dovetailing first trombone on the lower parts of the phrase into trumpet for the juicier bits. (Tip no. As for trumpets, one is all it took here, but as you’ll see its role was all the more precious for that. The centre of the figure is harmonised by violins with a touch of horn behind them. 1, Op. The work originally consisted of four pieces: Granada, Cataluña, Sevilla and Cuba. I added cascading harps and flurrying strings, catching the tremolo rise of the lower strings in the left hand pattern, then swooping to the downbeat punctuation of timpani. The editor Hofmeister republished the Suite española in 1912, after Albéniz's death, but added Cádiz, Asturias, Aragón and Castilla. Backing by first horn isn’t needed as the dynamics ebb, freeing it to maintain the cushion with the other brass. 11,30 € Chants d'espagne op 232 Klavier Albeniz Isaac Klavier. But I myself didn’t make use of every possible player from that list. Der Cellist Bruno Borralhinho hat die Suite in leicht angepasster Reihenfolge für Septett bearbeitet und mit seinem Ensemble Mediterrain eingespielt. It is mainly composed of works written in 1886 which were grouped together in 1887, in honour of the Queen of Spain. In orchestral arrangements, especially a recent score by Rafael Frühbeck de Burgos, there’s a tendency to give in to these obvious associations, with harps taking the place of guitar for endless glittery bars. At first the horns and first trombone simply play the right hand of the piano score, but stopped and muted respectively. Back to the opening idea. Read about Suite Espagnole, Op. Yet I feel that this direction in arranging ignores the deeper essence of the music: a picture of an imaginary, idealised Spain, with warm pleasant nights, birds singing, perfumed fountains, and an ineffable quality of life’s sweetness. 47, is a suite for solo piano. Isaac Albéniz’s Suite española, Op. 1, Albeniz chose a work that was immediately evocative of Spanish elements, for both his local audience and the mainstream Western concert music listener. Isaac Albéniz’s Suite española, Op. 47) (Serenata) by Isaac Albéniz (1860-1909). 47 – 5. The final string chord behind the harp arpeggios is doubled by bassoon, horns, clarinet, and bass clarinet, for a glowing but slightly hollow shading. T.61 ; Op.47 I-Catalogue Number I-Cat. Then both brass and strings do a delicate game of maintaining the rhythmic elements through the rising melody and accompaniment. Erst 1901 wurde die Suite als zusammenhängender Zyklus bekannt. 1: Granada (Albeniz Piano Cover) Report.