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Granados The Complete Piano Music



“I have composed a collection of Goyescas of great sweep and difficulty. They are the reward of my efforts to arrive. They say I have arrived. I fell in love with Goya’s psychology, with his palette. With him and e Duchess of Alba; with is lady maja, with his models, with his quarrels, his loves, and his flirtations. The white rose of the cheeks, contrasted with the flaxen hair against the black velvet with buttons and loops; those bending bodies of the dancing creatures, hands of mother-of-pearl and of jasmine resting on jet trinkets, they have disturbd me…” Enrique Granados to the pianist Joaquin Malats

In 1909 he began work on the set of piano pieces that would become his most important compositions, the Goyescas. The cartoons and engravings of Francisco de Goya (1746 – 1828) seemed to unlock a rich vein of inspiration which makes the Goyescas such a satisfying listening experience. Partly based on a zarzuela called Les ovillejos that Granados had composed twelve years earlier, the first book of the Goyescas was performed in Barcelona in 1911, and the first complete performance followed a year later in Madrid. The work was an instant success, and Granados was persuaded to use the music of the Goyescas as the basis of a new opera.

Granados The Complete Piano Music



Cartas de amor 1 No.1 2 No.2 3 No.3 4 No.4

Valses intimos 5 Introduction 6 No.1 7 No.2 8 No.3 9 No.4 10 No.5 11. No.6 12. No.7 13. No.8 Presto

14. Rapsodia aragonesa

Cuentos de la juventud 15. Dedicatoria 16. La mendiga 17. Canción de mayo 18. Cuento viejo 19. Viniendo de la fuente 20. [untitled] 21. Recuerdos de la infancia 22. El fantasma 23. La huerfana 24. Marcha

Dos impromptus 25. No.1 26. No.2

Escenas poéticas I 27. Berceuse 28. Eva y Walter 29. Danza de la rosa



Los majos enamorados Part I 1. Los requiebros 2. Coloquio en la reja 3. El fandango de candil 4. Quejas, o La maja y el ruiseñor

Libro de horas 5. En el jardin 6. El invierno 7. Al suplicio

8. Elisenda

Los majos enamorados Part II 9. El amor y la muerte 10. Epílogo, o Serenata del espectro



1. Paisaje

À la cubana 2. No.1 3. No.2

Danzas españolas 4. Danza Lenta 5. Sardana

6. Marche militaire

7. Valse de concert

8. El pelele (Goyesca)

9. Intermezzo from the opera Goyescas

10. Capricho español

11. Carezza Vals

Bocetos 12. Despertar del Cazador 13. El hada y el niño 14. Vals muy lento 15. La campana de la tarde

16. Países soñados



Escenas poéticas II 1. Recuerdo de paises lejanos 2. El angel de los claustro 3. Canción de Margarita 4. Sueños del poeta

5. Allegro de concierto

Escenas románticaso 6. I Mazurka - Poco lento con abandono 7. II Berceuse – Lento 8. III Lento - con extasis 9. IV Allegretto 10. V Allegro appassionato 11. VI Epílogo - Andantino spianato - con exaltacion poetica

Seis piezas sobre cantos populares españolas 12. Preludio? 13. I Añoranza 14. II Ecos de la parranda 15. III Vascongada 16. IV Marcha oriental 17. V Zambra 18. VI Zapateado



1. Barcorola

12 danzas españolas 2. I Galante 3. II Orientale 4. III Fandango 5. IV Villanesca 6. V Andaluza 7. VI Rondalla aragonesa 8. VII Valenciana 9. VIII Sardan 10. IX Romántica 11. X Melancólica 12. XI Arabesca 13. XII Bolero



1. Danza caracteristica

Dos Gavotas 2. No.1 3. No.2

4. Mazurka

Moresque y canción arabe 5. Moresque 6. Canción arabe

7. Oriental, canción, variada, intermedio y final

Seis estudios espresivos en forma de piezas fáciles 8. I Tema 9. - Variation I 10. - Variation II 11. - Variation III 12. - Variation IV 13. - Final 14. II 15. III El Caminante 16. IV Pastoral 17. V La última pavana 18. VI Maria

19. Estudio

20. Reverie (Improvisation) transcibed by Martin Jones from a Duo-Art Reproducing Piano Roll (Roll No. 5756. First Released May 1916)


A towering landmark of Spanish music  piano music finely recorded and played by Martin Jones with enviable dexterity and imaginative sympathy. For Ernest Newman the Goyescas gave 'the voluptuous sense of passing the fingers through masses of richly coloured jewels', a multi-faceted intricacy resolved by Jones in performances of a special character, lucidity and refinement. Such conversational elegance and brio require not only an exceptional fleetness but mastery of an elusive idiom, alternating an innate delicacy with searing passion. Jones's way with the triple-forte blaze before the close of of 'Coloquio en la reja' is as red-blooded and resonant as the most ardent Spaniard could wish. On the other hand, the tolling of funeral bells at the close of 'El amor y la muerte' and 'Seranata del espectro', where the composer's fervour is transmuted into numbing austerity, are evoked with memorable poise. Many of the same qualities apply to Iberia, and it says much for Jones that he goes entirely his own way, undaunted by Alicia de Larrocha's formidable recordings. His slowly spiralling Allegretto expressivo in 'EvocaciOn' allows him to savour every sultry harmonic change. Here, then, is a distinguished alternative to more overtly vibrant recordings.

Bryce Morrison, Gramophone