Hi guys, Welcome to the Advanced Video Search Engine, and you are watching Albéniz: Asturias [Leyenda] (Synthesized Orchestral). That video is uploaded by Carey R. Meltz at 2016-01-25T22:11:38-08:00. We are promoting this video only for entertainment and educational purpose only. So, I hope you like & enjoy it. [gYgm-cq8ICs]
| Name | Albéniz: Asturias [Leyenda] (Synthesized Orchestral) |
| Video Uploader | Video From Carey R. Meltz |
| Upload Date | This Video Uploaded At 26-01-2016 06:11:38 |
| Video Discription | Isaac Albéniz (1860–1909) was a Spanish pianist and composer best known for his piano works based on folk music idioms. Transcriptions of many of his pieces, such as Granada, Sevilla, Cataluña, and the Tango in D, to name a few, are important pieces for classical guitar, though he never composed for it. Taking the guitar as his instrumental model, and drawing his inspiration from the traits of Andalusian folk music (but without using actual folk themes) Albéniz achieves a stylization of Spanish traditional idioms that give captivating impressions of spontaneous improvisation. While Albéniz's crowning achievement, “Iberia,” was written in the last years of his life in France, many of its preceding works are well-known. Albéniz's influence on the future of Spanish music was profound. His activities as conductor, performer and composer significantly raised the profile of Spanish music abroad and encouraged the style and musicians in his own country. The prelude “Asturias” (subtitled “Leyenda”), is perhaps the quintessential "Spanish guitar" piece. A favourite of Segovia (and virtually every guitarist that followed him) the piece has become so widely identified with the guitar that those who don’t otherwise know would be surprised to learn that it was originally written for the piano. Albéniz composed Asturias in the early 1890's, most likely in London (where he had established himself as a concert pianist and theatre composer). The name “Asturias (Leyenda)” was given to it posthumously (2 years after his death) by the German publisher Hofmeister, who included it in the 1911 "complete version" of the "Suite española," although Albéniz never intended the piece for this suite. (It was originally used as the opening "Preludio" of a 3-movement set entitled “Chants d' Espagne”). Despite the new name, this music is not considered suggestive of the folk music of the northern Spanish region of Asturias, but rather of Andalusian flamenco traditions. "Leyenda," Hofmeister's subtitle, means "legend." The piece is noted for the delicate, intricate melody of its middle section and abrupt dynamic changes. Walter Clark (Albéniz's biographer), describes the piece as "pure Andalusian flamenco." In the main theme, the piano mimics that very guitar style. The theme itself suggests the rhythm of the "bulería" - a fast flamenco form in 12 beats. The "Marcato"/"Staccato" markings suggest both guitar sounds and the footwork of flamenco dancers. The 2nd section is a reminiscent of a "copla" - a sung verse following a specific form. Clark states that it is written in typical Albéniz form as it is "presented monophonically but doubled at the 15th for more fullness of sound." The music alters between a solo and accompaniment that is typical of flamenco. The short middle section of the piece is written in the style of a "malagueña" - another flamenco style having a very rich melody with virtuous flourishes and use of microtones. The malagueña borrows two motives from the previous copla and builds on them. The piece returns to its 1st theme until a slow "hymn-like" passage draws the piece to its end with a final flourish of the opening motif. All of these elements are to be found in Asturias: - The opening section could hardly be more evocative of the flamenco guitar. - The slow central section is more sophisticated. The opening phrases evoke the “cante jondo,” the improvised solo song of that persecuted Indian-Jewish-Gypsy cultural amalgam that produced what we today call "flamenco." - This eventually gives way to a more rhythmic, dance-like section with more active "guitar accompaniment." - Aesthetically, the final coda is the most sophisticated part of the composition. Albéniz introduces a series of pure diatonic choral-style harmonies, evoking the music of the Christian church, and reflecting the imposition of that religion on the ancient Moorish architecture. I first heard the piece (synthesized coincidentally) as “Leyenda” on Ruth White’s 1971 album “Short Circuits.” Years later I learned to play in on the piano. My version presented here is a greatly expanded work for full orchestra. Some of the timbres are tied to their “real” counterparts such as the Brass and Woodwinds (basic sounds which I have built on) Others take a greater departure from natural to be more representative of the mood. The “flute” and “clarinet” of the slower middle section travel moodily between the mountains, while the “strings” take on the more percussive qualities of the flamenco dancers. The visualization was chosen to be representative of the dancers as well. AS ALWAYS, THE USE OF HEADPHONES WILL GREATLY ENHANCE YOUR LISTENING EXPERIENCE (Just for fun - if you have a pair of Red/Cyan glasses - pause the video and check out the 3D image of Albeniz I made). gYgm-cq8ICs |
| Category | Music |
| Tags | Albeniz | Asturias | Leyenda | Suite española | Chants d' Espagne | Malagueña | Flamenco | Arrangement | Synthesizer (Musical Instrument) | Sibelius (Software) | Mixcraft (Software) | Adobe Audition (Software) | Spanish Music |
