Spanish Piano Music and Folklore from the Eighteenth to Early Twentieth Centuries

This is a pioneering work on the study of popular music in 19th-Century Spanish piano music, providing an exploration of specific folk-inspired works with an inquiry into the historical cross-pollination between popular and classical musical idioms. It will prove invaluable to pianists, scholars, performers and students in general.

This is a pioneering work on the study of popular music-songs and dances-from the eighteenth to early twentieth centuries. The piano was the dominant solo instrument in European art music of this period, including Spanish, and Ana Benavides uses this as a vehicle for examining a wide variety of vernacular songs and dances, offering a wealth of musical, historical, and ethnographic insight. First published in Spanish in 2019, this translation by Walter Aaron Clark shows how one of the most frequent and established practices in the history of Western art music has been the borrowing and reinterpretation of traditional and popular musics, which reflect the lives and spirit of those outside the upper social strata. This volume provides an exploration of specific folk-inspired works with an inquiry into the historical cross-pollination between popular and classical musical idioms. It will prove invaluable not only to pianists but also to scholars, performers, and students in general.

Autorentext

Ana Benavides is currently a distinguished professor at the Real Conservatorio Superior de Música de Madrid and associated professor at the Universidad Carlos III de Madrid.

Walter A. Clark is distinguished professor of musicology at the University of California, Riverside. He has written biographies of Isaac Albéniz, Enrique Granados, Federico Moreno Torroba (with William C. Krause), and Joaquín Rodrigo (with Javier Suárez-Pajares), as well as a research and information guide on Rodrigo for Routledge.

Inhalt

Foreword by Walter Aaron Clark

Chapter 1: Defining Spain: Its Music and Identity

Chapter 2: National Culture As Identity

Chapter 3: Domenico Scarlatti

Chapter 4: New Pathways

Chapter 5: Characteristics of the Spanish Piano Repertoire

Chapter 6: Songs

Chapter 7: Dances

Chapter 8: Wings of the Harp, Tail of the Piano, and Soul of the Guitar: The Versatility of Pitch on the Piano

Conclusion

Bibliography