Cantos de España
Works by Granados, Albéniz, Falla, Cassadó, Castillo
Luiza Nancu, Violoncello / Tatiana Postnikova, Piano
After the absorption of Spanish music during the eighteenth and nineteenth centuries part, this is the end of last century, when it occurs again its universalization, with figures such as Isaac Albeniz, Enrique Granados and Manuel de Falla. The works included on this CD cover virtually the entire twentieth century and can register with more or less intensity in what is identified as nationalism, inspirational line of many European music, and in the case of Spanish, stretches, with very different expressions, throughout the twentieth century.
The Intermezzo by Enrique Granados (1867-1916) is but the version for cello and piano orchestral Intermediate Opera ‘Goyescas’. This work, inspired by the scenes of majos Goya and popular types of this music IMCA nationalist built on folk elements, whether authentic or invented, with imitation of the voice and guitar, respectively, by the cello and piano.
La Malagueña by Isaac Albéniz (1800-1909) is part of his piano album España, was published in 1890, originally for piano, although in the version accompanied by the cello, due to Israeli cellist J. Stuchewsky retains all the charm and expressiveness of this music nationalism built on folk elements, real or invented. In this version accompanied by cello and piano mimic, respectively, voice and guitar.
Of the three pieces by Joaquin Turina (1882-1949), Romanza (1909), in part unpublished work is a very short drive, meditative and intimate, built on a basic cell that alternately passes from cello to piano, with classic features of which is frequent in his most characteristic. As the composer’s youthful work, we see in it the influence of French impressionist music.
Polyhymnia (1942), originally written for cello and piano is the fourth piece of the nine that make up the ‘Musas de Andalucia’, a work of great originality, in which the composer, with varied instrumental combinations, some of them also involving the voice, get fit distinctly Andalusian inspiration in classical forms, probably the greatest attraction of the piece included here is his beautiful main melody, one night, by the cello with piano light comments.
Jueves Santo a Medianoche is actually the second movement of the Seville Suite for Piano (1909), transcribed by the composer for the two instruments and dedicated to cellist Gaspar Cassado in 1924. As the composer himself acknowledges, his first work was inspired by Andalusian, although it is still very much influenced by his training at the Schola Cantorum in Paris.
Gaspar Cassadó (1897-1966), Barcelona, Casals’ pupil, cellist of world renown is less known as a composer. In the works are two original vensiones. Requiebros (published in 1931) used compositional and melodic elements of a nationalistic, although somewhat more diluted, also treated more freely than in previous compositions, it is a work of very spontaneous appearance, in which the dominant role is attributed mostly the cello.
The Cello Sonata (published in 1926) contrasts with the previous one in its most austere tone, but also aseptic, with bringing in more than one occasion to model Bach’s virtuosic and utilization of resources, without however giving themes and accents nationalists.