Another interesting thing is that unlike the score which calls for an octave jump after the chord figure, one can clearly hear Alicia playing an F# instead. I imagine she did this to facilitate an easier transfer for the hands, and a smoother sound. I think it's an appropriate adaptation, especially considering that this music was originally written for guitar and not piano.
I love the prelude, it's wonderful and plenty of fantasy and also not so easy to play. Also i love the seguidillas in some part it sounds as these songs that rocio durcal sung at once
"Bajo la palmera" Es difícil señalar un posible error a una excelsa intérprete de Albéniz, pero parece necesario decir que en esta pieza Alicia de Larrocha, o bien se basó en partitura distinta, o bien leyó incorrectamente (siempre) las repetidas combinaciones de corchea con puntillo-semicorchea de la mano izquierda con tresillo de corcheas en la mano derecha, de modo que coincide la última nota del tresillo con la semicorchea de la mano izquierda. En una versión de Orozco, por ejemplo, de estas piezas eso no sucede. "Under the Palm Tree" It is difficult to point out a possible error in an excellent interpreter of Albéniz, but it seems necessary to say that in this piece Alicia de Larrocha either based herself on a different score or misread (always) the combinations of dotted quaver-semiquaver in the left hand with quaver triplet in the right hand, so that the last note of the triplet coincides with the semiquaver in the left hand. In a version of these pieces by Orozco, for example, this does not happen.
Demonioshock 9:22 If you listen to this and then to "Cuba" from "Suit Espangole" (you can listen to it on RUclips) you will notice they're quite similar. I wonder which one was composed first. But yes, Prelude and Asturias are the same. Cheers!
Hasta donde yo sé, Cuba se compuso antes (alrededor de 1883). Los Cantos de España con Bajo la palmera no aparecieron hasta 1894. A lo largo de su obra, Albéniz tomó bastantes referencias de la primera Suite Española para lo que compondría después (buen ejemplo es, como decían, Asturias y el Preludio). Sin embargo, es cierto que hay bastante caos en la clasificación de obras de Albéniz, así que no sabría decirte con certeza cuál fue antes. Espero haber sido de ayuda :)
Something isn't adding up. This prelude first piece is known as Asturias, which is part of a different suite entirely. This other suite was also made at an earlier date, about 12 years before this one, supposedly. Can someone explain this?
Although the first suite "Suite española n.º 1" dates back to 1883, it wasn't compiled as we know it today until 1911, after Albéniz's death. The original suite only contained Granada, Sevilla, Cataluña and Cuba, and editors decided to create Suite española n.º 1 with some Albéniz's previous and individual works, which were not even called the way they are now (Asturias, for example, was just called "Prelude" and its inspiration has nothing to do with Spanish region Asturias - Albéniz would've never called it that way). Same thing happened to Castilla (named "Seguidilla" and also present in Cantos de España), Cádiz (formerly called "Serenata española" Op. 181) and Aragón (Danza española n.º 1 from "Dos danzas españolas" Op. 164).
El rock és molt variat, aquí tens als Iron Maiden inspirant-se amb aquesta mateixa peça d'Albéniz a To Tame a Land: ruclips.net/video/OtG5bXF0DZM/видео.html
16:10 As impeccable a pianist Larrocha is some of the liberties she is taking defy reason. I understand Horowitz as a disillusioned performer when he deviated from the score, but this is nonsense
I am thinking this may have been a live performance, noticing some background sounds. The taking of the lower octave is a Romantic throwback, which some are critical of, eg, Leon Fleisher didn't like that kind of thing. It is done here and there with Chopin, Schumann... the latter eg at the end of the 2nd movement of the Fantasy, Op 17. De Larrocha studied with Frank Marshall who studied with Granados, and eventually Marshall replaced Granados at the conservatory. I wonder if the lower octave liberty was perhaps something Granados or Albeniz may have done, or been Ok with at least. In any event, De Larrocha is such an impeccable player of Bach and Mozart as well, and I'd bet she'd never take such liberties with those guys.
![[#2024MAMA] G-DRAGON - 무제(Untitled, 2014)+POWER+HOME SWEET HOME+뱅뱅뱅+FANTASTIC BABY | Mnet 241123 방송](http://i.ytimg.com/vi/Ox29z5Nf1Uk/mqdefault.jpg)
I feel Albéniz sometimes has some unexpected yet so dramatic and beautiful harmony/texture changes(development) which open up a new world for me.
I can somehow feel Albéniz’s character when left hand melody comes in?
Mesmerizing playing, she was brilliant, unique, Alícia de Larrocha!!
Estic d'acord amb vostè. Com Alicia de Larrocha no hi haurà altra. Però lo que es cert es que el seu art brillara sempre
I've never heard this collection.Thanks!Happy Birthday,Sr.Albinez,immortal one.
Ara ja la coneix, mister
Thanks Paco M. for all these collections.
0:34
damn! jumping those octaves accurately is sooo difficult
[blank] just a little practice, my friend. 🙂😎
Another interesting thing is that unlike the score which calls for an octave jump after the chord figure, one can clearly hear Alicia playing an F# instead. I imagine she did this to facilitate an easier transfer for the hands, and a smoother sound. I think it's an appropriate adaptation, especially considering that this music was originally written for guitar and not piano.
@@ninjaassassin27 no, this was actually originally written for piano but the guitar version got more popular.
Just started learning this and jumping around the cords so difficult
@@ninjaassassin27confidently incorrect
Siempre bello y reconfortante.
Wonderful Alicia de Larrocha; thanks Paco for sharing it😉!
me trying to finish an essay last minute
Me gustó mucho la experiencia de esta pieza de música.
Excellent performance by AdL. Thanks for score with fingering.
Beautiful! Thanks for sharing!
Amo esta pieza
Jo també
I love the prelude, it's wonderful and plenty of fantasy and also not so easy to play. Also i love the seguidillas in some part it sounds as these songs that rocio durcal sung at once
Love it!
Maravilhoso!!!!👏👏👏👏👏👏👏👏👏👏
Hermosa grabación, gracias!!!
This is really fun until it's reallly ridiculously impossible then it's really fun again
No se entera usted de nada.
Thanks for sharing!
it's my pleasure! thanks for watching :)
He tocado la de Seguidillas, y es la 0stia de bonito pero la 0stia de complicado🙃
trop beau!!!!!
Ah! The audio gets cut off too soon at the end. A final chord must always be allowed to resonate for dramatic purposes.
Sorry, there was some trouble with the audio and I couldn't make anything to fix it.
Ik moet dit spelen🤪♥️
Looks difficult or should I say very difficult, wish I could play this for my dad.
It's not that difficult! If you have a certain level you should really give it a try.
Can’t go that fast no matter I tried. 😭
J'aime à la folie *****
"Bajo la palmera" Es difícil señalar un posible error a una excelsa intérprete de Albéniz, pero parece necesario decir que en esta pieza Alicia de Larrocha, o bien se basó en partitura distinta, o bien leyó incorrectamente (siempre) las repetidas combinaciones de corchea con puntillo-semicorchea de la mano izquierda con tresillo de corcheas en la mano derecha, de modo que coincide la última nota del tresillo con la semicorchea de la mano izquierda. En una versión de Orozco, por ejemplo, de estas piezas eso no sucede.
"Under the Palm Tree" It is difficult to point out a possible error in an excellent interpreter of Albéniz, but it seems necessary to say that in this piece Alicia de Larrocha either based herself on a different score or misread (always) the combinations of dotted quaver-semiquaver in the left hand with quaver triplet in the right hand, so that the last note of the triplet coincides with the semiquaver in the left hand. In a version of these pieces by Orozco, for example, this does not happen.
Hola Paco, gracias por todos tus vídeos de partituras, son de gran utilidad. ¿Podrías decirme, por favor, qué programa usas para crearlos.
Uso el Sony Vegas Pro 11.0 :)
Muchísimas gracias
Spanish Caravan - The Doors
Caravana Española - Medina Azahara
MY FINGERS HURT
:(
This is a lot of fun to play; surprisingly not as had to play as it looks. The staccato is the only hard part.
21:39 Nino Rota, Le notti di Cabiria
Which one was first? "Bajo la palmera" or "Cuba" (from Suite Espagnole)? Their resemblance is quite interesting...
Demonioshock 9:22 If you listen to this and then to "Cuba" from "Suit Espangole" (you can listen to it on RUclips) you will notice they're quite similar. I wonder which one was composed first. But yes, Prelude and Asturias are the same. Cheers!
Hasta donde yo sé, Cuba se compuso antes (alrededor de 1883). Los Cantos de España con Bajo la palmera no aparecieron hasta 1894. A lo largo de su obra, Albéniz tomó bastantes referencias de la primera Suite Española para lo que compondría después (buen ejemplo es, como decían, Asturias y el Preludio). Sin embargo, es cierto que hay bastante caos en la clasificación de obras de Albéniz, así que no sabría decirte con certeza cuál fue antes. Espero haber sido de ayuda :)
has anyone figured out the pedaling on this one....got a digital piano and it sounds fine without the pedal
this is cool but í thought there was a 12 string guitar for the prelude.
The original is for the piano and it was later rearranged by other musicians for the guitar
Something isn't adding up. This prelude first piece is known as Asturias, which is part of a different suite entirely. This other suite was also made at an earlier date, about 12 years before this one, supposedly. Can someone explain this?
Although the first suite "Suite española n.º 1" dates back to 1883, it wasn't compiled as we know it today until 1911, after Albéniz's death. The original suite only contained Granada, Sevilla, Cataluña and Cuba, and editors decided to create Suite española n.º 1 with some Albéniz's previous and individual works, which were not even called the way they are now (Asturias, for example, was just called "Prelude" and its inspiration has nothing to do with Spanish region Asturias - Albéniz would've never called it that way). Same thing happened to Castilla (named "Seguidilla" and also present in Cantos de España), Cádiz (formerly called "Serenata española" Op. 181) and Aragón (Danza española n.º 1 from "Dos danzas españolas" Op. 164).
Great music, but the volume on this selection is too quiet.
he messed up at 4:16.......but hey I can't even play one measure of this tune yet lol so bravo
4:15
she
As Beethoven (or whoever) said: to play a wrong note is insignificant; to play without passion is inexcusable!
oh it's beautiful =D She*** did a wonderful job
It was Beethoven, yes
14:12 This is the part SexuaLobster (nowadays GreasyTales) used for Pleasure Island lol
01:39 Lecuona- Alhambra 😮😮😮
And here is a 2014 orchestration of the complete piano suite:
ruclips.net/video/YV1D30aQ69c/видео.html&ab_channel=RichardRijnvos
siempre pensando en ti
スパニッシュギター曲を模した曲だよな
これはピアノ曲でも
Quina pena que avui la gent prefereix rock o reggaeton a aquestes obres mestres.
El rock és molt variat, aquí tens als Iron Maiden inspirant-se amb aquesta mateixa peça d'Albéniz a To Tame a Land: ruclips.net/video/OtG5bXF0DZM/видео.html
Slippery hands at 4:15 …
ラヴェルはスカルボの手本にしてる
Y Alicia de la Rocha es la mejor de todos.
5:15 compare the dynamic symbols on the sheet paper (sforzando = loud, expessive), and the way this nigga played this composition...
16:10 As impeccable a pianist Larrocha is some of the liberties she is taking defy reason. I understand Horowitz as a disillusioned performer when he deviated from the score, but this is nonsense
Are you talking about the accent on the downbeat on the A?
I am thinking this may have been a live performance, noticing some background sounds. The taking of the lower octave is a Romantic throwback, which some are critical of, eg, Leon Fleisher didn't like that kind of thing. It is done here and there with Chopin, Schumann... the latter eg at the end of the 2nd movement of the Fantasy, Op 17. De Larrocha studied with Frank Marshall who studied with Granados, and eventually Marshall replaced Granados at the conservatory. I wonder if the lower octave liberty was perhaps something Granados or Albeniz may have done, or been Ok with at least. In any event, De Larrocha is such an impeccable player of Bach and Mozart as well, and I'd bet she'd never take such liberties with those guys.
Nonsense? What a ridiculously silly reaction. It’s a performance tradition. Hardly a crime to deviate.