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Henry Dehlinger | Evocations of Spain

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Classical: Piano solo Classical: Twentieth Century Moods: Solo Instrumental
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Evocations of Spain

by Henry Dehlinger

In his debut classical album, piano virtuoso Henry Dehlinger explores Spain through the compositions of two of the country’s greatest composers - Isaac Albéniz (1860 - 1909) and Enrique Granados (1867-1916).
Genre: Classical: Piano solo
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  Song Share Time Download
1. Iberia: Evocación
5:20 $0.99
2. Iberia: El Puerto
4:02 $0.99
3. Iberia: Féte-Dieu À Séville
7:57 $0.99
4. Iberia: Triana
5:26 $0.99
5. Iberia: El Albaicín
7:33 $0.99
6. Asturias (Leyenda)
6:06 $0.99
7. Rumores De La Caleta (Malagueña)
3:30 $0.99
8. Spanish Dance No. 2: Oriental
4:23 $0.99
9. Spanish Dance No. 5: Andaluza (Playera)
3:46 $0.99
10. Spanish Dance No. 6: Rondalla Aragonesa (Jota)
5:40 $0.99
11. Añoranza
2:48 $0.99
12. Zapateado
4:34 $0.99
13. Goyescas: Quejas Ó La Maja Y El Ruiseñor (The Maiden And The Nightingale)
6:01 $0.99
Downloads are available as MP3-320 files.


Album Notes
In his debut classical album, Evocations of Spain, pianist Henry Dehlinger explores Spain through the compositions of two of the country’s greatest composers - Isaac Albéniz (1860 - 1909) and Enrique Granados (1867-1916).

Tracks 1 through 5 are from Albéniz’s magnum opus - the Iberia suite. Track 1, Evocación, is the inspiration for the name of the album. A nostalgic remembrance of Spain's Andalusia region, Evocación is full of incredibly deep, impressionistic colors and gorgeous dissonances. Track 2, El Puerto, is a musical portrait of the port town of Cádiz where Dehlinger spent numerous weekends at La Playa de la Caleta, Cadiz’s spectacularly beautiful beach situated between two castles. The piece’s main theme is a lively zapateado, a stomping Andalusian dance with intricate footwork.

The city of Seville was the inspiration for the third track, Fête-Dieu à Séville, which evokes a Corpus Christi festival procession, approaching from the distance and gradually building to a jubilant climax. The revelry subsides, leaving just the solemn tones of bells heralding the midnight mass. Seville also inspired the gorgeous Triana where the repeated rhythms of a gypsy dance combine with lyric melodies in a wonderfully romantic, rich-textured climax. The gypsy quarter of Granada was the inspiration for El Albaicín. Its sensuous bulerías theme - a fast Flamenco dance rhythm - alternates with a mysterious cante jondo vocal theme. Cante jondo is the deep Flamenco song of the gypsies who, a thousand years ago, migrated from Northern India, across the Middle East to Western Europe.

Cante jondo is also prominent in Asturias, popularly recognized as one of the greatest showpieces of Spanish guitar. Full of intricate finger work, Asturias was actually written for the piano under a different title and has little to do with the Asturias region of northern Spain. After Albéniz died, his editor renamed it Asturias and republished it as a part of the Suite Española. It is pure Andalusian Flamenco and just as great on the piano as it is on the guitar.

The Granados tracks are characteristically sophisticated and light. Granados is called the poet of the piano for good reason. Dehlinger showcases the sheer breadth of Granados' genius, from the intense sensation of longing in Añoranza to the exhilarating dance rhythms of Zapateado and the Spanish Dances.

The last track is The Maiden and the Nightingale from Granados' Goyescas suite. It is based on a haunting folksong Granados heard sung by a girl in the Valencia countryside. It was written in an improvisational manner, yet its complex passagework and rich texture will give, as one reviewer said, “the voluptuous sense of passing the fingers through masses of richly-colored jewels.”



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