ENRIC GRANADOS AND EARLY MUSIC IN BARCELONA AND PARIS FIN­DE SIÈCLE

 

 

CEMF, Garrucha (Almería) September 12- 15 2016

 

Goyescas and the Tonadillas represent the summit not only of Granados’s re­creation of

eighteenth century Spanish music but also probably of his personal artistic achievement.

Paris was a most significant reference point for Granados, who stayed in Paris from 1887 to 1890,

a period when Paris was developing rapidily as one of the main centers for Early Music. A case in

point was the International Exhibition of 1889 where an original harpsichord by Taskin (1769) was

played, and new copies by Erard, Pleyel and Tommasini were on display.

On the other hand, with his mentor Pedrell, Granados discovered the Early Spanish repertoire,

which he strongly cultivated. This workshop will focus on the 24 Scarlatti sonatas transcribed by

Granados and eigtheenth century Spanish repertoire.

 

PROGRAM

Instructors: Luisa Morales (FIMTE, Spain – University of Melbourne)

With the collaboration of Cristóbal Salvador (dance and castanets)

 

3 hours a day (2hours keyboard +1 hour dance)

 

Prerequisites: This course is intended to keyboardists in general: pianists, harpsichordists, clavichordists and organists of intermediate and advanced levels.

 

Repertoire and topics 18th and Early 19th centuries

Works by Domenico Scarlatti (specially recommended sonates K. 209, K. 380, K.376, K. 454, K. 491 and Fandango), José de Nebra, Antonio Soler, Juan Moreno y Polo, José Ferrer, Josep Gallés and others.

 

Repertoire and topics 16th-17th centuries

Works by Antonio de Cabezón, Sebastián Aguilera de Heredia, Francisco Correa de Arauxo, Pablo Bruna, Juan Cabanilles.

1) Spanish 18th c. Repertoire: genres, styles, composers, editions.

2) Performance:  articulation, phrasing, tempo, ornamentation, rhythm, technique, registration

3) Performance: traditional dances in Scarlatti’s sonatas. Practice.

4) Keyboard instruments in Eighteenth century Spain

5) Sources of Eighteenth century Spanish Keyboard Music

6) The genesis of the nationalist piano school

 

 

Participants are asked to select in advance whatever keyboard music they wish to play, to be working on, or to start work on during the workshop (a minimum of 6 pieces is strongly recommended). 

 

Instruments: The following instruments will be available: a German harpsichord copy of Zell, double manual, FF-d’’’, Hamburg 1728 (Joan Martí, Barcelona 1985)) a Spanish harpsichord based on 18th century Spanish models, double manual, FF-g’’’ (Klinkhamer, 2007), a Spanish clavichord copy of Jose Grabalos, late eighteenth century, FF-f’’’’ six octaves (Vogel-Scheer, 2005)