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Tony Hauser | "España" New Arrangements from the Piano Music of Isaac Albeniz

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Classical: Romantic Era Latin: Flamenco Moods: Featuring Guitar
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"España" New Arrangements from the Piano Music of Isaac Albeniz

by Tony Hauser

Distinctive and true to the music arrangements for classical guitar of piano works by Albéniz.
Genre: Classical: Romantic Era
Release Date: 

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  Song Share Time Download
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1. Prelude from Chants D'espagne, T. 101 [Op. 232]
7:38 $1.29
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2. Barcarola, T. 55 [Op. 16 or 23]
6:13 $1.29
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3. Autumn from Album of Miniatures, T. 100 [Op. 1]
2:36 $1.29
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4. Summer from Album of Miniatures, T. 100 [Op. 1]
4:32 $1.29
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5. Prelude from Espana: Seis Hojas De Album, T. 95 [Op. 165]
2:24 $1.29
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6. Tango from Espana: Seis Hojas De Album, T. 95 [Op. 165]
3:14 $1.29
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7. Malaguena from Espana: Seis Hojas De Album, T. 95 [Op. 165]
4:32 $1.29
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8. Serenata from Espana: Seis Hojas De Album, T. 95 [Op. 165]
4:10 $1.29
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9. Capricho Catalan from Espana: Seis Hojas De Album, T. 95 [Op. 165]
3:56 $1.29
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10. Zortzico from Espana: Seis Hojas De Album, T. 95 [Op. 165]
3:11 $1.29
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11. Cadiz from Suite Espanola no. 1, T. 61 [Op. 20]
5:09 $1.29
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12. Granada from Suite Espanola no. 1, T. 61 [Op. 20]
5:50 $1.29
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13. Sevilla from Suite Espanola no. 1, T. 61 [Op. 20]
5:43 $1.29
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
"Tony Hauser’s profound knowledge of both classical and flamenco traditions shines through in this remarkably original and deftly interpreted potpourri of Albéniz’s music. There is no doubt that the composer himself would be well pleased with these renditions."---Walter A. Clark
PROGRAM NOTES BY DR. WALTER AARON CLARK---Born near the French border in the Catalonian town of Camprodón, Isaac Albéniz (1860-1909) was a phenomenal child prodigy who began touring Spain and Cuba as an itinerant piano virtuoso already in his early teens. He was not yet 20 when he finished his formal music studies, avec distinction, at the Conservatoire Royal in Brussels. From 1886 to 1889, while living in Madrid, Albéniz first emerged as a composer of originality and significance, creating a Spanish national style in musical travelogues for solo piano. Though he spent succeeding years in London (1890-93) and Paris (1894-1909), he never lost touch with his Spanish muse. Combining Romantic harmony with native rhythm and melody, he captured the exotic allure of such peninsular locales as Granada, Seville, and Córdoba. In this respect, he was a musical exponent of costumbrismo, a literary movement inspired by various regional manners and customs. Insofar as the guitar is the instrument of choice in accompanying local songs and dances in Spain, Albéniz’s piano music often imitates its characteristic punteo (plucking) and rasgueo (strumming) patterns. Many of his works sound entirely natural in transcription for the guitar because that was what he had in mind when he composed them.
As is the case throughout Albéniz’s oeuvre, however, opus numbers were haphazardly applied by publishers and are virtually meaningless. The renowned Spanish musicologist Jacinto Torres has published a thematic catalog of Albéniz’s music that offers the only reliable organization of his compositions. Thus, T. numbers are now the principal means of establishing the sequence in which his works came into being. Opus numbers appear here only in brackets.
Albéniz’s first major effort in his Spanish style was the Suite española no. 1, T. 61 [Op. 20], a work with a complex history. He presented it to Benito Zozaya in Madrid for publication in 1886. However, though he listed eight titles, he included only four completed pieces, and he never finished the suite. The remaining numbers first appeared later and under different titles. After Albéniz’s death, publishers “completed” the collection by inserting these works, changing their titles to reflect the composer’s original list. As a result, the designations are not always germane to the actual musical character of the piece.
A classic instance of this misidentification is also a warhorse in the guitar repertoire, generally referred to as “Asturias (Leyenda).” It was originally published in 1892 by J.B. Pujol in Barcelona as the “Prélude” to Chants d’Espagne, T. 101 [Op. 232]. It was posthumously added to the Suite española no. 1 in order to provide the non-existent music for the title by which it is now widely known. In fact, this piece is pure Andalusian flamenco and has nothing to do with the Asturias region of the north. The A section is one of Albéniz’s most arresting and virtuosic conceptions, presenting an insistent repetition of sixteenth notes in imitation of the guitaristic alternation of thumb and forefinger, while the accents suggest an alternation of 6/8 and 3/4 so typical of flamenco. The middle section begins with a soulful copla (song or song verse) that leads to a dance-like passage at once defiant and proud.
Not all of the works Albéniz composed during the 1880s and early 1890s were in a Spanish style. As a concert pianist, he had a wide repertoire and was thoroughly familiar with the Romantic tradition of Mendelssohn, Chopin, and Liszt. Many works of this period reflect their influence, especially the Barcarola, T. 100 [Op. 16 or 23], composed in 1883 and premiered in Paris in 1888. Its undulating rhythms suggest the gentle rocking of a boat, while its lilting lyricism evokes the boatman’s song. This was just the kind of salon piece his concert audiences relished. Another example of his popularizing non- Spanish style is the Album of Miniatures, T. 100 [Op. 1], whose constituent movements were inspired by the four seasons. Composed in London in 1891, it was first published there in 1892 and the following year in Paris (as Les Saisons, with French titles for the times of year). Aside from some faint Andalusian harmonic inflections in “Autumn,” the Barcarola and Album of Miniatures betray no Spanish pedigree; thus, they are almost never essayed by guitarists. The skillfully executed transcriptions on this recording reveal that to be an unfortunate oversight.
However, another “album” Albéniz composed is thoroughly steeped in the heritage of his homeland: España: Seis hojas de álbum (Spain: Six Album Leaves), T. 95 [Op. 165], composed, premiered, and published in London in 1890. Its several movements provide fetching vignettes of Spanish songs and dances and are popular with both pianists and guitarists alike. The rhythmic freedom of the “Prélude” subtly suggests an Andalusian copla. The “Tango” is not an evocation of the Argentine song and dance but rather of the Cuban habanera, first popularized by Albéniz’s compatriot Sebastián Iradier (1809- 65), whose songs provided prototypes not only for Albéniz but also Georges Bizet in his opera Carmen. The malagueña is a type of fandango associated with the Andalusian city of Málaga, and this is one of the finest manifestations of Albéniz’s persistent attraction to that stirring song and dance. The “Serenata” exudes something of the influence of Domenico Scarlatti (1685-1757), the Italian keyboardist and composer who spent most of his career working in Madrid. Albéniz’s mother was from Catalonia, and the subsequent “Capricho catalán” is notable for its gentle melodiousness over a syncopated ostinato in the bass. Albéniz’s father was of Basque descent, and the final “leaf” in this “album” evokes the animated Basque zortzico and its characteristic 5/8 meter.
“Cádiz” from the Suite española no. 1 was first published in 1890 by Pujol under the title Serenata española and later inserted into this suite to provide the score for Albéniz’s title. Though the music bears no particular relation to the Andalusian seaport of Cádiz, there is also no real conflict between the piece’s title and its musical style; therefore, we include it here in this suite. The A section features the triple-meter “bolero” rhythm of an eighth, sixteenth triplet, and four eighths, while the B section contains forceful monophonic passages evocative of flamenco singing. Two of the original numbers from the Suite española no. 1 are also among Albéniz’s most celebrated confections. In early 1886, he wrote to a friend from Granada that his recently composed “Granada (Serenata)” was “romantic to the point of paroxysm and sad to the point of despair.” Granada represented to Albéniz as well as many artists and writers of the day a meeting point of Muslim and Christian realms. The A section suggests the strumming of guitars in accompaniment of a lovely Spanish copla; the B section, however, is “Moorish” in its minor key, sinuous melodic contour, and syncopated rhythms. The suite continues with “Sevilla (Sevillana),” whose A section employs the spirited rhythms of the sevillanas, a light-hearted song and dance popular in Seville. The B section is a movingly expressive copla in the flamenco style.
Tony Hauser’s profound knowledge of both classical and flamenco traditions shines through in this remarkably original and deftly interpreted potpourri of Albéniz’s music. There is no doubt that the composer himself would be well pleased with these renditions.

BIOGRAPHY OF WALTER AARON CLARK has bachelor’s and master’s degrees in guitar performance, and he received his doctorate in musicology from UCLA in 1992. He is currently Distinguished Professor of Musicology at the University of California, Riverside, where he is the founder/director of UCR’s Center for Iberian and Latin American Music. He was the founding editor (2005-16) of Oxford University Press’s award-winning series Currents in Latin American and Iberian Music, and he is now editor-in-chief of the online journal Diagonal: An Ibero-American Music Review. He is the author of groundbreaking Oxford biographies of Isaac Albéniz, Enrique Granados, and Federico Moreno Torroba, and his book on the Romero family of guitarists is forthcoming from University of Illinois Press. He is currently researching a biography of Joaquín Rodrigo. He is the recipient of Fulbright and NEH grants, and in 2016, King Felipe VI of Spain conferred on him the title of Comendador de la Orden de Isabel la Católica (Commander of the Order of Isabella the Catholic), a Spanish knighthood, in recognition of his contributions to the promotion of Spanish culture.
BIOGRAPHY OF TONY HAUSER defies categorization. Strongly rooted in the classical tradition, his explorations of Spanish flamenco, Latin-American, ethnic and new music present the widest variety of performance. His love for the guitar was born at the age of ten when he began studying with his brother, flamenco guitarist, Michael Hauser, with whom he has concertized extensively. As a youth he established solid foundations as both a classical and flamenco guitarist studying both in Minnesota with Albert Bellson and Jeffrey Van and in Spain with the legendary flamenco guitarists Niño Ricardo and Luis Maravilla. Under the tutelage of Andres Segovia‘s protege, Jesus Silva, he received his Bachelor of Music degree from the North Carolina School of the Arts. Lessons and master classes with Maestro Segovia, John Williams, Abel Carlevaro and Cuban composer-guitarist Leo Brouwer followed. He has taught at Viterbo College in La Crosse WI and was the Director of the Guild of Performing Arts Music School in Minneapolis. Currently he serves on the faculty of the University of St. Thomas in St. Paul, MN
Tony Hauser’s concert career spans over forty five years with hundreds of performances in communities and colleges throughout North America. He has toured with the legendary jazz guitarist Charlie Byrd and leads a band called “The Brasilnutz” that specializes in authentic performances of a variety of Brazilian musical styles not often heard in the U.S. His music has been broadcast on National Public Radio and Garrison Keillor‘s “A Prairie Home Companion”. He also has won the Minnesota Music Award for Guitarists and is the founder of the Minnesota Guitar Society. Mr. Hauser was nominated by Senator Rod Grams to represent the state of Minnesota with performances at Kennedy Center and on the Capitol grounds in Washington D.C.
Tony Hauser’s discography includes “Circulo Magico” and “Distribution of Flowers” with Brazilian recorder virtuosa Cléa Galhano, and a recording of Russian Gypsy music with the singer, Sergei Pobedinski, entitled “Gentlemen Gypsies”. He has released on his own label—Blue Gentian Records, numerous titles including “So Por Amor”, a tribute album with the Brasilnutz of the music of Brazilian guitarist-composer, Baden Powell, and two solo discs entitled “Hauling it All” and “The Living Room Tapes”. He plans to release an all original flamenco disc with guest artists, guitarist Pedro Cortes and flamenco singer Jesus Montoya,
Although not generally known for being a composer, his original score ”Dream Cycle” for the Nancy Hauser Dance Co. (modern dance) was performed at the Guthrie Theatre, Walker Art Center, the Opera House in Lexington, Kentucky and throughout the Midwest. In 1993 a four movement work for guitar and percussion was presented in Philadelphia, Pennsylvania by modern dancer Dale Schmid. He has composed solo guitar and flute and guitar duets in a modern classical style and numerous flamenco works for guitar with bass, percussion winds and vibraphone. In 2015 he performed the premiere of his “Concerto for Flamenco Guitar and Chamber Orchestra” entitled “Alegrias” with the MN Sinfonia conducted by Jay Fishman. In 2017 he composed the music for “The Book of We” a theatrical production by actress-playwright Heidi Arneson. His sheet music is available on the website Musicaneo.
He has premiered compositions by Lee Hoiby, Mikis Theodorakis, Patrick Byers, Lawrence Ward, Bill Buchen and other contemporary composers. His numerous arrangements incude over 50 works by Brazilian composers for small ensemble, works by pianists Isaac Albeniz and Enrique Granados, violin suites by Bach, renaissance lute works and more.
NOTES BY TONY HAUSER---My goal in these arrangements was to adhere to the piano music as closely as possible, while making playable versions. The long heritage of arranging his music is peculiar in that fidelity to the score, both in note choice and interpretation, varies greatly. Having a background in flamenco music, I had no desire to use his music as a proxy for flamenco, and instead wanted to bring out the grace and elegance in his music while remaining true to the score.
more information available at www. tonyhauser.com

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