Azumi Nishizawa - Albéniz: Iberia (2023) [Hi-Res]
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BAND/ARTIST: Azumi Nishizawa
- Title: Albéniz: Iberia
- Year Of Release: 2023
- Label: Prometheus
- Genre: Classical
- Quality: flac lossless (tracks) / flac 24bits - 96.0kHz
- Total Time: 01:25:44
- Total Size: 514 mb / 1.41 gb
- WebSite: Album Preview
Tracklist
01. Albeniz Iberia, Book 1 I. Evocacion
02. Albeniz Iberia, Book 1 II. El Puerto
03. Albeniz Iberia, Book 1 III. El Corpus Christi en Sevilla
04. Albeniz Iberia, Book 2 I. Rondena
05. Albeniz Iberia, Book 2 II. Almeria
06. Albeniz Iberia, Book 2 III. Triana
07. Albeniz Iberia, Book 3 I. El Albaicin
08. Albeniz Iberia, Book 3 II. El Polo
09. Albeniz Iberia, Book 3 III. Lavapies
10. Albeniz Iberia, Book 4 I. Malaga
11. Albeniz Iberia, Book 4 II. Jerez
12. Albeniz Iberia, Book 4 III. Eritana
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Isaac Albéniz was undoubtedly one of the most outstanding composers of the late-nineteenth and early-twentieth centuries. A member of the generation of composers (also consisting of Enrique Granados, Manuel de Falla and Joaquín Turina) that brought new life into Spanish music, taking it to the top of the European artistic world, Albéniz's works covered practically every genre: songs, operas, choral and symphonic music, but it was his output for the piano that represented his best contribution. "Iberia is a miracle for the piano; it is perhaps the most sublime of all the great works that have been written for the king of instruments", wrote the French composer Olivier Messiaen. These words perfectly sum up the importance of this legendary work for the piano, whose technical and expressive demands make it especially challenging for the performer. The release of a new version of Iberia -which joins the ranks of others by great performers including Esteban Sánchez, Alicia de Larrocha, Ricardo Requejo, Roger Muraro, Rosa Torres-Pardo and Guillermo González, among others- by Azumi Nishisawa is thus a cause for celebration. Nishisawa has specialised in Spanish music in recent years (she has just recorded Manuel de Falla's complete piano works) and delves into the many contrasts of this work with great skill. Isaac Albéniz, a universal composer Isaac Albéniz was born in Camprodón, a small town in Gerona situated on the border between Spain and France, on 29 May 1860. Educated in a middle-class family with liberal ideas, from an early age he was considered a child prodigy on the piano: he gave his first public performance at age four and embarked on various concert tours of Spain (Andalusia, Extremadura, Castile etc.) and Latin America (Puerto Rico, and Havana) as a teenager. It was also during these early years that he began composing short pieces bearing the influence of Chopin, although the Spanish sound so characteristic of his later music was yet to be discerned. In 1876, Albéniz commenced an intense period of academic training. After spending several months in Leipzig, he was admitted to the Royal Conservatory of Brussels to study with Louis Brassin (an indirect pupil of Chopin), immersing himself in the study of pianistic technique and attaining an even higher level of virtuosity. After graduating avec distinction three years later, Albéniz continued his concert tours of various European and Cuban cities, arriving in Granada for a second time in 1881 on one of these trips. The composer had visited the city as a child and it had fascinated him to such an extent since then that it became his greatest source of inspiration. It was also during this period that Albéniz composed his Suite Española and Recuerdos de viaje, two collections of short pieces using folkloric elements to recreate different Spanish (and in particular Andalusian) regions. Another important stage during this decade was his encounter with Felipe Pedrell, an important Spanish nationalist composer and musicologist, who helped him to fully absorb the use of popular melody as a source of inspiration and concentrate on the study of stage music. In 1890, Albéniz moved to London, where he spent three years composing music theatre with the economic support of Francis Money-Coutts, an English solicitor, patron of the arts and a lover of poetry, who subsequently financed the composer in return for setting his libretti to music. Albéniz's dedication to stage music produced two works in which he demonstrated his mastery of lyric theatre and an extraordinary ability to adopt the prevailing trends in opera in late-nineteenth-century Europe: Pepita Jiménez, based on Spanish themes and in line with the aesthetics of verismo, and Merlín, which incorporates elements of Wagner's musical language. In 1893 he settled in Paris and soon joined in the city's cultural and musical life, mixing with important figures including Ernest Chausson, Charles Bordes and Gabriel Fauré; he also studied orchestration and counterpoint with Vincent D'Indy and Paul Dukas and closely monitored the innovations of the new French music created by Claude Debussy, whom he admired. By the beginning of the twentieth century, Albéniz had become an icon for the young Spanish composers who subsequently arrived in Paris such as Joaquín Turina and Manuel de Falla, whom he constantly supported and issued advice to. Albéniz even interceded on Falla's behalf so that the Spanish Royal House conceded him a scholarship to cover the costs arising from his stay in Paris, a gesture the composer from Cádiz acknowledged by dedicating his Cuatro piezas españolas to him. Albéniz died on 18 May 1909. He spent the last years of his life composing his masterpiece and what would ultimately become his musical testament: Iberia. Iberia Early twentieth-century Paris represented a golden age for piano music with the emergence of pieces including Claude Debussy's Estampes (1903) and L'Isle joyeuse (1904), and Maurice Ravel's Gaspard de la Nuit (1908), technically demanding works which expanded the instrument's limits and breathed new life into pianistic language during the Impressionist movement. In this context, Albéniz -who had concentrated on the composition of stage music for 15 years without the success he had hoped for- opened up to the modernity of the new trends of the French avant-garde and created an output for the piano that was unprecedented in the history of Spanish music. The composition of Iberia commenced in 1905 and was completed in 1908, one year prior to the composer's death. During this period the composer continued to enjoy the patronage of his friend Money-Coutts, which allowed him to fully concentrate on composition and was only interrupted by his numerous health problems. Albéniz tried to evoke different Spanish regions from a distance and with nostalgia; he drew on folklore and motives from popular music -that he became familiar with during his numerous trips as a youth-, which were subjected to a process of stylisation that was very different to the picturesque use of direct quotes. A clear precedent in this evolutionary process was La Vega (1897), a sophisticated and extraordinarily harmonically complex work inspired by the countryside of Granada, a landscape Albéniz used to admire from the Alhambra. Iberia reflects an exquisite purification of style, a revitalised language that draws together some of the musical novelties of Impressionism: modal harmony, whole-tone scales, dissonances, augmented-sixth chords; classical forms treated with total freedom; an interplay of textures and dynamic marks (usually in French) that reflect the composer's meticulousness in his search for "colour" and timbral richness: sonorous effects, nuances and contrasts. On the other hand, the work reveals a highly virtuosic pianistic technique, which stretches the instrument's possibilities to the limit and contains all kinds of acrobatics calling for a top-level performer. In Albéniz's time, a number of pianists and composers warned of it's difficulty, including Manuel de Falla, who had the privilege of hearing Book III of the work performed by the composer himself in early 1908, shortly after it's première. The Archivo Manuel de Falla preserves his scores of Iberia, which include numerous notes, indications and arrangements demonstrating it's complexity, even for a strong pianist like the composer from Cádiz. Iberia consists of 12 pieces divided into four books, each containing three pieces. These books were published separately by Éditions Mutuelle between 1906 and 1908, albeit under the generic title of nouvelles "impressions" en quatre cahiers, a suggestive title characteristic of their stylistic proximity to the Impressionist movement. The work is popularly known as Suite Iberia, but it should be said that the use of this term to define this work is incorrect, since it is not a "suite" in the usual sense, as there is no tonal relationship or correlati...
01. Albeniz Iberia, Book 1 I. Evocacion
02. Albeniz Iberia, Book 1 II. El Puerto
03. Albeniz Iberia, Book 1 III. El Corpus Christi en Sevilla
04. Albeniz Iberia, Book 2 I. Rondena
05. Albeniz Iberia, Book 2 II. Almeria
06. Albeniz Iberia, Book 2 III. Triana
07. Albeniz Iberia, Book 3 I. El Albaicin
08. Albeniz Iberia, Book 3 II. El Polo
09. Albeniz Iberia, Book 3 III. Lavapies
10. Albeniz Iberia, Book 4 I. Malaga
11. Albeniz Iberia, Book 4 II. Jerez
12. Albeniz Iberia, Book 4 III. Eritana
Isaac Albéniz was undoubtedly one of the most outstanding composers of the late-nineteenth and early-twentieth centuries. A member of the generation of composers (also consisting of Enrique Granados, Manuel de Falla and Joaquín Turina) that brought new life into Spanish music, taking it to the top of the European artistic world, Albéniz's works covered practically every genre: songs, operas, choral and symphonic music, but it was his output for the piano that represented his best contribution. "Iberia is a miracle for the piano; it is perhaps the most sublime of all the great works that have been written for the king of instruments", wrote the French composer Olivier Messiaen. These words perfectly sum up the importance of this legendary work for the piano, whose technical and expressive demands make it especially challenging for the performer. The release of a new version of Iberia -which joins the ranks of others by great performers including Esteban Sánchez, Alicia de Larrocha, Ricardo Requejo, Roger Muraro, Rosa Torres-Pardo and Guillermo González, among others- by Azumi Nishisawa is thus a cause for celebration. Nishisawa has specialised in Spanish music in recent years (she has just recorded Manuel de Falla's complete piano works) and delves into the many contrasts of this work with great skill. Isaac Albéniz, a universal composer Isaac Albéniz was born in Camprodón, a small town in Gerona situated on the border between Spain and France, on 29 May 1860. Educated in a middle-class family with liberal ideas, from an early age he was considered a child prodigy on the piano: he gave his first public performance at age four and embarked on various concert tours of Spain (Andalusia, Extremadura, Castile etc.) and Latin America (Puerto Rico, and Havana) as a teenager. It was also during these early years that he began composing short pieces bearing the influence of Chopin, although the Spanish sound so characteristic of his later music was yet to be discerned. In 1876, Albéniz commenced an intense period of academic training. After spending several months in Leipzig, he was admitted to the Royal Conservatory of Brussels to study with Louis Brassin (an indirect pupil of Chopin), immersing himself in the study of pianistic technique and attaining an even higher level of virtuosity. After graduating avec distinction three years later, Albéniz continued his concert tours of various European and Cuban cities, arriving in Granada for a second time in 1881 on one of these trips. The composer had visited the city as a child and it had fascinated him to such an extent since then that it became his greatest source of inspiration. It was also during this period that Albéniz composed his Suite Española and Recuerdos de viaje, two collections of short pieces using folkloric elements to recreate different Spanish (and in particular Andalusian) regions. Another important stage during this decade was his encounter with Felipe Pedrell, an important Spanish nationalist composer and musicologist, who helped him to fully absorb the use of popular melody as a source of inspiration and concentrate on the study of stage music. In 1890, Albéniz moved to London, where he spent three years composing music theatre with the economic support of Francis Money-Coutts, an English solicitor, patron of the arts and a lover of poetry, who subsequently financed the composer in return for setting his libretti to music. Albéniz's dedication to stage music produced two works in which he demonstrated his mastery of lyric theatre and an extraordinary ability to adopt the prevailing trends in opera in late-nineteenth-century Europe: Pepita Jiménez, based on Spanish themes and in line with the aesthetics of verismo, and Merlín, which incorporates elements of Wagner's musical language. In 1893 he settled in Paris and soon joined in the city's cultural and musical life, mixing with important figures including Ernest Chausson, Charles Bordes and Gabriel Fauré; he also studied orchestration and counterpoint with Vincent D'Indy and Paul Dukas and closely monitored the innovations of the new French music created by Claude Debussy, whom he admired. By the beginning of the twentieth century, Albéniz had become an icon for the young Spanish composers who subsequently arrived in Paris such as Joaquín Turina and Manuel de Falla, whom he constantly supported and issued advice to. Albéniz even interceded on Falla's behalf so that the Spanish Royal House conceded him a scholarship to cover the costs arising from his stay in Paris, a gesture the composer from Cádiz acknowledged by dedicating his Cuatro piezas españolas to him. Albéniz died on 18 May 1909. He spent the last years of his life composing his masterpiece and what would ultimately become his musical testament: Iberia. Iberia Early twentieth-century Paris represented a golden age for piano music with the emergence of pieces including Claude Debussy's Estampes (1903) and L'Isle joyeuse (1904), and Maurice Ravel's Gaspard de la Nuit (1908), technically demanding works which expanded the instrument's limits and breathed new life into pianistic language during the Impressionist movement. In this context, Albéniz -who had concentrated on the composition of stage music for 15 years without the success he had hoped for- opened up to the modernity of the new trends of the French avant-garde and created an output for the piano that was unprecedented in the history of Spanish music. The composition of Iberia commenced in 1905 and was completed in 1908, one year prior to the composer's death. During this period the composer continued to enjoy the patronage of his friend Money-Coutts, which allowed him to fully concentrate on composition and was only interrupted by his numerous health problems. Albéniz tried to evoke different Spanish regions from a distance and with nostalgia; he drew on folklore and motives from popular music -that he became familiar with during his numerous trips as a youth-, which were subjected to a process of stylisation that was very different to the picturesque use of direct quotes. A clear precedent in this evolutionary process was La Vega (1897), a sophisticated and extraordinarily harmonically complex work inspired by the countryside of Granada, a landscape Albéniz used to admire from the Alhambra. Iberia reflects an exquisite purification of style, a revitalised language that draws together some of the musical novelties of Impressionism: modal harmony, whole-tone scales, dissonances, augmented-sixth chords; classical forms treated with total freedom; an interplay of textures and dynamic marks (usually in French) that reflect the composer's meticulousness in his search for "colour" and timbral richness: sonorous effects, nuances and contrasts. On the other hand, the work reveals a highly virtuosic pianistic technique, which stretches the instrument's possibilities to the limit and contains all kinds of acrobatics calling for a top-level performer. In Albéniz's time, a number of pianists and composers warned of it's difficulty, including Manuel de Falla, who had the privilege of hearing Book III of the work performed by the composer himself in early 1908, shortly after it's première. The Archivo Manuel de Falla preserves his scores of Iberia, which include numerous notes, indications and arrangements demonstrating it's complexity, even for a strong pianist like the composer from Cádiz. Iberia consists of 12 pieces divided into four books, each containing three pieces. These books were published separately by Éditions Mutuelle between 1906 and 1908, albeit under the generic title of nouvelles "impressions" en quatre cahiers, a suggestive title characteristic of their stylistic proximity to the Impressionist movement. The work is popularly known as Suite Iberia, but it should be said that the use of this term to define this work is incorrect, since it is not a "suite" in the usual sense, as there is no tonal relationship or correlati...
Year 2023 | Classical | FLAC / APE | HD & Vinyl
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