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BI 1973
ALBÉNIZ, I.: Piano Music (Complete), Vol. 8 (Baselga)

ALBÉNIZ, I.: Piano Music (Complete), Vol. 8 (Baselga)

The Classical Shop
release date: August 2014

Originally recorded in 2014

Artists:

Miguel Baselga

Soloist

Venue:

Auditorio y Palacio de Congresos, Zaragoza, Spain

Venue

Record Label
BIS

Genre:

Instrumental


Classical

Total Time - 64:50
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ALBÉNIZ, I.: Piano Music (Complete), Vol. 8 (Baselga)

     
Select Complete Single Disc for
 

ISAAC ALBENIZ

     
 

Suite espagnole No. 2

 
1 I. Zaragoza 03:20
2 II. Sevilla 06:23
     
 

6 Danzas espanolas, Op. 37

 
3 No. 1 in D Major 03:07
4 No. 2 in B-Flat Major 04:56
5 No. 3 in E-Flat Major 03:43
6 No. 4 in G Major 03:44
7 No. 5 in A-Flat Major 03:01
8 No. 6 in D Major 03:20
     
9 

Estudio impromptu, Op. 56

04:51
     
 

Les saisons, Op. 201

 
10 I. Le Printemps 01:58
11 II. L'Ete 02:25
12 III. L'Automne 02:25
13 IV. L'Hiver 01:41
     
14 

Mazurka de salon, T. 81

05:49
     
15 

Recuerdos, mazurka, Op. 80

05:04
     
16 

3 Improvisations (transcribed by M.R. Laufer)

02:08
     
17 

Champagne (carte blanche), vals

05:05
     
18 

Berceuse, T. 114 bis

01:50
     
 Miguel Baselga Soloist


If at least some part of Isaac Albéniz’ music may justifiably be described as ‘salon music’, this is not something that the composer would have objected to. Quite the opposite: he was himself very much a man of the salon, especially in his youth in the 1880s, which is when most of the pieces on Miguel Baselga’s new album were composed. It was in the salons of Madrid that he recruited new pupils among the young ladies of the bourgeoisie, performed his latest compositions and, presumably, had a good time in general. And although his greatest work – the four books that make up Iberia – was composed much later, in Paris, Albéniz never disassociated himself from the earlier works: ‘There are among them a few things that are not completely worthless’, he once remarked, ‘... there is less musical science, less of the grand idea, but more colour, sunlight, flavour of olives.’ It was in the 1880s that a strong influence of Spanish style becomes evident in his music, as a result of the influence of the teacher and composer Felipe Pedrell. Folk music, especially that of Andalusia, and the characteristic idiom of Spanish guitar music make themselves felt in compositions such as Zaragoza and Sevilla, the two pieces published in 1890 as Seconde Suite espagnole. Other works on this album are of a more ‘international’ character, for instance Les Saisons, Albéniz’ own ‘Four Seasons’: four miniatures in an almost impressionistic style. Also included is the transcription, published in 2009, of one of the three improvisations that Albéniz recorded on a phonograph roll in 1903, permitting us a unique peek into the composer’s creative mind.

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