“Spanish Dancers” ( German: Spanische Tänze [1] ) is a collection of pieces for violin and piano by Spanish ( Basque ) violin virtuoso and composer Pablo de Sarasate in four notebooks. They are labeled with opus numbers 21, 22, 23 and 26 and include two pieces each. They were published respectively in 1878 [2] , 1879 [3] , 1880 [4] and 1882 [5] years. The first notebook came out with a dedication to the largest German violinist of the time, Joseph Joachim . “Spanish Dances” was a great success, which is preserved for them even today: they are the most famous composition for violin and pianoforte by Sarasate.
Content
Composition of the collection
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General characteristics
Although the composer did not attribute his subsequent works to this collection, publishers often printed them with the subtitle “Spanish dance” [7] or, on the contrary, with the general title “Spanish dances” [8] , which obviously made it possible to achieve greater sales. This trick was partly justified: many works of Sarasate are really close in spirit to the "Spanish Dances". And vice versa: neither number 3, nor, all the more, number 7 from this collection are dancing, these are songs.
The plays are grouped in two in a notebook: slow and fast, the first serves as a kind of “prelude” to the second (the usual practice for that time). To this is added the opposition of major and minor. In the first notebook taken the same tone (D major and D minor). In the second notebook, this opposition is only imitated: the introduction to what is written in the key of the minor dominant (A minor), which is simultaneously parallel to the key of the romance (C major). In the third notebook, the lines change places: the first play is written in a minor, the second - in a major. It is noteworthy that the player ends up with a drawn dominant (A), which then turns out to be a Zapateado tonic. The “inverted” sequence of frets is also preserved in the fourth notebook, both pieces of which are written in A minor, but C major (the middle part is written in D major) dominates in the outer parts of the habanera, and the minor main theme of the duet processed by Sarasate is perceived rather as an introduction (this led to an error in publications where there was no habanera, since there were no names for plays from the fourth notebook, it was designated as a dance in C major [9] ).
Despite the connection between the plays in separate notebooks, there is no rigorously thought-out cycle. The order of the notebooks is arbitrary, and they could indeed be supplemented by several more works of the same nature (in general, the fourth notebook is already an addition to the first three: it came out a little later, without the names of the dances [6] , it appears again habanera - this repetition would be undesirable if the publication were united by a single idea). “Spanish dances” by Sarasate cannot be called the forerunners of neither the Enrique Granados , nor the Isaac Albeniz (the first will appear in ten years, the second in almost thirty). All the pieces of Sarasate, however, draw Spain from all sides. Some of them come from folk culture, others are transcribed songs and numbers from the Sarzuel modern Sarasate Spanish composers.
Sources
The first couple of dances were malagenia and habanera . Malaguena (No. 1) takes its name from the city of Malaga in Andalusia . It may be a personal essay by Sarasate [10] . Sources [11] habaneers (No. 2), on the contrary, are well known: its external parts are based on the theme of the duet “Te llevaré a Puerto Rico ...” (No. 3) from the zarzuela “Man is weak” ( El hombre es débil ) [12] ; the middle part is the development of the song “Nena mía” by (who processed this folk song) [13] . Barbieri used the same habanera in the finale of his cello concerto Edouard Lalo .
The second notebook includes " Andalusia Romance" and " Navarre Hotu ." The music of the “Andalusian Romance” (No. 3), like the music of malageni, probably belongs to Sarasate himself. In its middle part appears in a somewhat modified form, but recognizable, the melody of the traditional Andalusian . “Navarre Jota” (No. 4) includes two Jota. The first is taken from “ miller” ( El molinero de Subiza , No. 15) [14] . The melodies of the second hota were also used by in his concerto for the piano “Long live Navarre!” ( ¡Viva Navarra!, 1895 ) [15] .
In the third notebook entered the and zapateado . Pleyera (No. 5) is very different from the other pieces. It provides a sample of cante hondo . The name Zapateado (No. 6) comes from isp. zapato ( boot ). This is a quick three-part dance.
Pieces of the fourth notebook were published without titles [6] . The seventh “dance” is a transcription of the song “ La partida ” [16] by . Sarasate follows very precisely the construction of the song, allowing herself to add variations only at the junction of the middle section and reprise. The eighth dance is the second habanera. Her first, la minor, theme that made up the external parts was taken from the duet “De la patria del cacao ...” (No. 3) [17] from the sarzuela “The Silent Woman” by [11] .
Records
There are recordings of two “Spanish Dances” made by Sarasate himself [18] : the first habanera (No. 2) [19] and the Zapateado (No. 6) [20] . Subsequently, “Spanish Dances” (in whole or in individual plays) were recorded by most leading violinists of the 20th century.
Notes
- ↑ The first edition came out with a cover in German.
- ↑ 1 2 Friedrich Hofmeister (Hrg). Musikalisch-literarischer Monatsbericht. 1878. May — June .
- ↑ 1 2 Friedrich Hofmeister (Hrg). Musikalisch-literarischer Monatsbericht. 1879. June .
- ↑ 1 2 Friedrich Hofmeister (Hrg). Musikalisch-literarischer Monatsbericht. 1880. October .
- ↑ 1 2 Friedrich Hofmeister (Hrg). Musikalisch-literarischer Monatsbericht. 1882. November .
- ↑ 1 2 3 See early editions of (c. 1881) and (1906): [1] . Zimrock's edition of 1898: [2] . The same on the general cover of Zimrock (mid-20th century): [3] .
- ↑ For example, on the cover of the play “Long Live Seville!” ( ¡Viva Sevilla! ), Op. 38, released : [4] .
- ↑ For example, the general cover for the op. 41 - 43 Sarasate in the convinces the buyer that this is a continuation of the very same "Spanish dances": [5] [6] . The Publishing House printed the original four notebooks under one cover with the “fifth” - the “Andalusian Serenade”, op. 28: [7] . The Song of the Nightingale, Op. 29 was called the Sixth Notebook, Bolero, op. 30 - “the seventh”: [8]
- ↑ So a general cover (mid-20th century) for all “Spanish Dances”: [9] .
- ↑ Joseph Gold, Keith Anderson. The comment to the disk Naxos 8.557767
- ↑ 1 2 Joseph Gold, Keith Anderson. Comment to the disk Naxos 8.557767 In this comment, two habanera confused.
- Full text of the zarzuela: (isp.) [10] [11] . Short retelling: (eng.) [12] , (isp.) [13] . Klavirausutsug author throughout the Zarzuela: [14] , duo clavier: [15] . On the page of this zarzuela on the IMSLP website there is a later arrangement of a duet for singing with piano: [16] . The author of this version, , added to the Barbieri music a losing song on the subject of Caballero, evidently focusing on the Sarasate habener under consideration.
- ↑ Arrangement of processing Caballero for guitar: [17] . Another processing of the same song, for piano: [18] ; written by Charles Neustedt (Charles Neustedt [19] ), it does not contain an indication of Caballero. Both treatments are called folk song.
- Full text of the zarzuela: (Spanish) [20] . A brief retelling: (Spanish) [21] . Arrangement of this Oudrida jota: [22] . Arrangement for brass band: [23] and archive recording (1917?): [24] . There are also posts on Youtube .
- ↑ Notes of this jota: [25] . Records are on Youtube .
- ↑ Notes of this song: [26] . Two recordings of this song performed by Enrico Caruso (1914 and 1918): [27] .
- ↑ The notes of this duet are arranged for guitar: [28] .
- ↑ (Jap.) Discography of Sarasate .
- ↑ On Youtube : [29]
- ↑ On Youtube : [30]
Links
Notes
- Spanish Dances, op. 21 (Book I) Pablo de Sarasate: sheet music on the International Music Score Library Project
- Spanish Dances, op. 22 (Book II) Pablo de Sarasate: sheet music on the International Music Score Library Project
- Spanish Dances, op. 23 (Book III) Pablo de Sarasate: sheet music on the International Music Score Library Project
- Spanish Dances, op. 26 (Book IV) Pablo de Sarasate: sheet music on the International Music Score Library Project