The application of Spanish folk music inthe piano suite "Iberia" by Isaac Albeniz.

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Authors Redford, John Robert.

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The application of Spanish folk music in the piano suite "Iberia" by Isaac Albeniz

Redford, John Robert, A.Mus.D

The University of Arizona, 1994

V·M·I 300 N. Zceb Rd. Ann Arbor. MI 48106

THE APPLICATION OF SPANISH FOLK MUSIC

IN THE PIANO SUITE IBERIA BY ISAAC ALB~NIZ

by

John Robert Redford

A Document Submitted to the Faculty of the

DEPARTMENT OF MUSIC

In Partial Fulfillment of the Requirements For the Degree of

DOCTOR OF MUSICAL ARTS WITH A MAJOR IN PERFORMANCE

In the Graduate College

THE UNIVERSITY OF ARIZONA

199 4

THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE

2

As members of the Final Examination Committee, we certify that we have

read the document prepared by JOHN ROBERT REDFORD

entitled THE APPLICATION OF SPANISH FOLK MUSIC

I~ THE PIANO SUITE IBERIA BY ISAAC ALB€NIZ

and recommend that it be accepted as fulfilling the requirements

for the Degree of

1,J,~4 Prof. Nicholas Zu

l' 1 !.Il /"L/ "

;$r'~ pal a F in ~/

DOCTOR OF MUSICAL ARTS

/Lf Ap ... ;t: ''11-Date

D~TJ()/W 1'1, (71'-/

/</ d~ ) (f 5 ~I Date j

Date

Date

Final approval and acceptance of this document is contingent upon the candidate's submission of the final copy of the document to the Graduate College.

I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the requirement.

Date

3

STATEMENT BY AUTHOR

This document has been submitted in partial fulfillment of requ i rements for an advanced degree at The Un i vers i ty of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library.

Brief quotations from this dissertation are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his or her judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author.

SIGNED:

4

TABLE OF CONTENTS

1. LIST OF ILLUSTRATIONS ............................... 5

2 . ABSTRACT............................................ 6

3. INTRODUCTION.......................... . . . . . . . . . . . . .. 8

4. OVERVIEW OF IBERIA.................................. 11

Characteristics of the Dances Stylized in Iberia 11

The Movements of Iberia ......................... 14

5. SPANISH FOLK DANCES EMPLOYED IN IBERIA .............. 26

6. THE PERFORMANCE OF FLAMENCO AND THE GUITAR IDIOM .... 38

7. SPANISH FOLK SONG ................................... 46

Musical Characteristics ......................... 46

Cante Janda.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 52

The Cop 1 a. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 60

8. SUMMARy............................................. 66

9. NOTES ............................................... 67

10. REFERENCES.......................................... 69

5

1. LIST OF ILLUSTRATIONS

FIGURE 1. Geographic locations of movements of Iberia ... 10

6

2. ABSTRACT

Iberia,

during

life.

Albeniz' acknowledged masterpiece, was published

1906-1909, the I as t three years of the composer's

The suite, subtitled Twelve New Impressions, is a

picturesque, evocative description of Spanish scenes and

landscapes, although for the most part centered around

Andalusia.

Albeniz has made full use of the wealth of Spanish folk

music in his compositional style, and the movements of

Iberia represent a synthesis of the characteristic elements

of Spanish folk music. These elements may be considered

according to the following three main categories: (1) the

rhythms of Spanish dance especially those belonging to the

body of Andalusian folk music known as flamenco, (2) the

characteristics of Spanish folk song, and (3) the guitar

idiom.

This study identifies and examines the numerous aspects of

folk music employed in Iberia, and in several instances

compares Albeniz' stylizations with quotations of authentic

folk music.

The purpose of this study is to afford the pianist who

wishes to perform Iberia. a greater insight into the

interpretive requirements of this masterpiece. It is also

hoped that the interested musician will be led to a further

exploration of the richness of Spanish folk music. This of

course will allow an even fuller understanding and

appreciation of Iberia.

7

8

3. INTRODUCTION

Iberia, Albeniz' acknowledged masterpiece, was published in

four books during 1906-1909, the last three years of the

composer's life. The suite, subtitled Twelve New

Impressions, is a picturesque evocative description of

landscapes, al though for the most part

Andalusia, which is the southernmost

Spani sh scenes and

centered around

prov i nce of Spa i n direct I y across the Med i terranean from

Morocco and Algeria (although Catalan by birth, Albeniz

felt himself a Moor at heart!).

Albeniz draws freely from the wealth of Spanish folk music,

and the movements of Iberia frequently employ

characteristic dance rhythms, especially those belonging to

the category of Andalusian folk music known as flamenco.

These dance rhythms are of ten a I terna ted with a I yr i ca I

vocal section called a copla, and although not actually folk

song quotations, they are stylizations of the melodic, modal

and rhythmic features of Andalusian folk song.

The pieces are large sca I e (averag i ng abou t seven m i nu tes

each), full of color, and seemingly limitless in rhythmic,

melodic and harmonic invention, again due in part to the

richness and variety of Spanish folk music. The vast scale

9

of dynamics ranges from quintuple p to quintuple f and there

is also the designation, "even louder if possible". 'I'he i r

complexity of technique once even drove Albeniz to consider

destroying them as unplayable. The chart below shows the

geographic origins of each of the movements. EI Polo is the

name of an Andalusian song or dance, therefore Evocation is

the only work in the suite whose title does not refer to a

particular style or geographic location.

Figure 1. Geographic locations of movements of Iberia.

(See Next Page)

o -

IBERIA: 12 nouvelles 1mpresslons· en quatre c::ahiers (12 New -Impressions· in rOUT Books)

Book 1 (Composed 1906; dedicated to Madame Ernest Chausson) Evocaci6n (Evocation) EI Puerto (The Par EI Corpus en Sevilla (Corpu~ Seville

Book 2 (1906; dedicated to Blanche Selva)

Ralld~e~ii~~~;;~;~~~~:::::=~:~~~~~~~~~~~~~~~§~_:", Almerf Trian

Book 3 (1907; dedicated to Mar EI Albaidn EIPolo Lavapi6

Book" (1908; dedi~ Malag Jerez Eritaiia

"uHOIe"

'''KlOz:):.~ 11 ... t; bAI.EARle h.

"

" t ,.

"

•" .. of e •• QUe c ........

1 1

4. OVERVIEW OF IBERIA*

Characteristics of the Dances Stylized in Iberia

Buierfas Triple time, fast tempo.

The guitar is featured prominently as a solo

instrument. The music is played with abandon and has

continually shifting rhythmic accents. The term

buierfas is derived from the Spanish buriar, which

means to mock. scoff, burlesque.

Fandango Triple time, moderately fast tempo.

The dance is performed in alternation with sung stanzas

(copias). Important local variants are found in Malaga

(ma i agueffa) , and Ronda (rondeffa). Another variant is

the fandanguiiio, a slow plaintively sung melody.

Habanera Duple meter, slow to moderate tempo.

A Cuban song and dance, named after the capital,

Havana. The most typical rhythms are:

(a)

(b) 2 14

nfl

mn or

~

*There is some duplication of information with this section and the following sections. This is deliberate as this study allows a movement by movement examination of Iberia and also an examination according to categories of Spanish folk music.

12

Jota Triple time, fast tempo.

A genre of song and dance especially characteristic of

Arag6n. in northern Spain, but widely disseminated

throughout the Spanish peninsula. In its simplest

form, a copla consisting of four octosyllabic lines is

set to two to four phrases of music.

Malagueifa Derived from the fandango.

An emotional and sensual gypsy song and dance often

characterized by improvisation and cadential

flourishes.

Polo Triple time.

A song and dance of Andalusia belonging to the genre of

cante jondo. Fundamentally a lament despite the lively

example in El Puerto.

Rondef'fa Derived from the fandango.

Like the fandango it includes sung stanzas in

alternation with instrumental interludes. A rhythmic

feature is the alternation of 6/ 8 and 3/4 measures.

Seguidi lIas Triple time, moderately fast.

A typical feature is a melodic phrase beginning on the

second or fourth eighth-note of a 3/ 4 measure e.g.

Sevillanas Gypsy flamenco version of the seguidillas

originating from Seville.

Solea

13

Triple time.

Solea (plural soleares) means loneliness. The soleares

are stark and tragic. They belong to the group of

flamenco dance-songs which have developed from old

religious chants and therefore retain an Eastern

character.

Tarantas Triple time.

Yet another form derived from the fandango. The vocal

sections of this dance are rhythmically free. and like

those of the solea are related to chant.

14

The Movements of Iberia

Evocati6n serves as a gentle romantic introduction to the

suite and immediately evokes the languid exotic nature of

Spanish folk song. Its two themes represent respectively a

fandanguilJo and the lyrical copJa of a Navarrese jota, both

having a guitaristic accompaniment.

Ex. 1. Evocati6n; fandanguiJJo

1\ ,------ -

j 10) ~ f':: ~ .. '~"":;;'?J..._ ..., -, T .... ..... --=.7 ..

..~ ==--~ ]. bt='!!: -~~ :::=-

~ I ... ~t\ .... '1\

, !

~. ~. ~.

15

Ex. 2. Evocati6nj copla ,,,.,.,, ~'''·J/".Tem}Ju. ~ 1:\ >- ____

1\ , ... I ... I. .~ ~ ~~ ~

{ "-

oJ _.

"---" ~'. "",-=-'. ~~...;.

~ i PPP ---, , ,-d- ~ ! } .;. i t\ -LI '. ... : . - 'fW. ~.

El Puerto is an impression of the little fishing port of

Santa Maria on the Bay of Cadiz. Three contrast ing dance

forms make this piece immediately appealing: a polo

character i zed by syncopa t ion, a bu 1 er 1as, one of the mos t

exciting flamenco dancesj the music imitates the violent

strumming effects of the guitar and the stamping of the

dancers. The third dance is a languorous seguiriya gitanas

which is essentially a lament.

Ex. 3. El Puertoj polo

,.. >.:

II , , .... .................. 41- ~+.;,. ... --:.. .;, ;:.., ....:. '';' >- >-

{ oJ

''''; ,I ~·mri· rn ~ II ~

~ ~~ ~ .L 'A I... ... ~'.i.lJA

~. 'fW.

16

Ex. 4. E1 Puerto; bu1erias ~~/l'~~~~~~~~~~~~ jf I i

F:l

~ I - - -

Ex. 5. E1 Puerto; seguiriya gitanas

~ p-==== ."',."'· ..... t \ .. nnr ... p

::> -

7!"-- ~.

r~----1ib.

Sevi lIe is famous for the pageantry and intensi ty of its

reI igious celebrations, especially those of Holy Weel.; and

Corpus Christi. E1 Corpus en Sevilla begins with muffled

drum beats followed by a march depicting a great procession.

17

As the procession, bearing huge ornate effigies of Christ

and the Virgin Mary, makes its way through the narrow

crowded streets, voices will suddenly be raised in a saeta -

I iterally an "arrow of song" - piercing the celebration with

the vibrant intensity of its lamentation. 1 The saeta is a

form of cante janda, the semi-improvisational "deep song" of

Andalusia. Usually invoking the sufferings of Christ, it is

taken up by one spectator group after another passing from

ba I cony to ba I cony as the process i on moves a long. In E1

Corpus en Sevilla the saeta is stylized by fortissimo

octaves with the march theme used as an accompaniment.

Ex. 6. E1 Corpus en Sevilla

J·,.tr'Ir·~ (,. t"",p". >.>. --8 .. · .. ··~ .... •••••·••• .. ······-·-· .. -·· ..

L' . -------------.---------------------- .---------------~; I . j ~

fI ~ ~ =:S: ~ 4- IL .If. ~ .If. ~ L--' L L .. IL ... ! :.e - - ..... /

oJ .fJ:ffT 1====f n:=r= 1\ ~ ~ .JL ~ . ~

. -OJ

J:t:/J~ " ~};

\

1~. :. "rd. bit'll marl u .. r I .. ba!,.\tt.

~.

-==r= F;= L .If. .....

I ~J~.

IT ~ >- 1 1l.

-J :j/ -~.

..... :f 8·------·­

....... .At. ... ... ........

18

Book II of Iberia opens with Rondefla. Like the malagueffa,

the rondefla is a dance which takes its name from the place

where it is performed, in this case the Andalusian ci ty of

Ronda. Another feature that the two dances have in common

is that they are both var i ant s of the fandango, somet i mes

described as the principal dance of Andalusia. Folk dances

of Spain are characterized by rhythmic vivacity and

energet i c execut i on2 . This rondefla uti 1 izes a systematic

hemiola effect; an alternation of 6/ 8 and 3/4 measures:

Ex. 7. Rondefla

-I AlIeg...,tto M !II •• - tiS >-~ I'\~

-or I...l L.i....;,- V1~1~1 mf V V. "& ,., }Jr"(".~

~ :

-Z::: •. ..--r 1 r

I -~

:.....J ~:_r ~1~7f7 .l'! h.. .

~~ I 'fUI.

1

Almeria, named after the Andalusian seaport , features the

rhythm of the tarantas, a dance characteristic of this

region. The rhythm is very languorous and swaying due to

the subtle cross rhythms in the left hand:

Ex. 8. Almeria

(See Next Page)

Ex. 8. Almeria

lUIJ = 72 '\llcgr~tto mod<:rnto

>- ~

~r~~ .t(J/I·~ ~

=?- .L

~. ~. .

19

.• ue I. Pflill prdd ... Tcut tI morruu dail eire J"e d'UD~ 'I(GD Dalrhalaat •. 1!L mollf'm.is birD r1Ihm~f'.

A Moorish influence can be sensed as Moorish and Oriental

dances are character i zed by movement s 0 f the body rather

than the feet. 3 The cop1a, superimposed over this rhythm is

one of the most beautiful in Iberia.

Triana is the name of a gypsy quarter in Seville and not

surprisingly the piece is based on the rhythm of the

sev ill anas, one of the mos t popu 1 ar and exuberant of the

flamenco dances.

Ex. 9 . Triana

.. , ... J :94 ,uJcgretto cun ,Ilnimn ~ / ===- ===-

"u ~_ ~ ~- Y-.~- >:::~- === '1-,

{If'-lol •• .- II -t..) ~ -= J.- .-'qrat'il'u",

>- >-

~~~~ V'~ ( .. r t""rlr,. >- ~ >- ;...::;'-

'fUl. 'fUI. ~.

The rhythm IS alternated, and at times combined with a

marcha torera (bullfighter's march). In addition, Albeniz

20

manages to emulate the guitar, castanets and tambourine.

Triana is the most popular and the most frequently played of

all the pieces in Iberia.

One of the most remarkable movements of the whole

collection, and one which was particularly admired by

Debussy, is £1 A1baicin (the gypsy quarter of Granada, on a

hill facing the Alhambra palace). The music begins with a

bu1erias in the style of a virtuoso guitar improvisation and

is one of these melancholy yet passionate dance types so

beloved by the Andalusian gypsies. 4

Ex. 10. £1 A1baicin

I

fl II ~ ~ su All 0 .. .: cgr ass" •. D\" me aDCO :co

f ~ - ... ....- 4- "* .... I...J4- ....- .... .... , I "d LJ I I I , fl I

, = F - , I

-n...-oJ 7/ ':' '!' "7 •

ppp. prlil. p;'f.I •• 1 lrO' .. 1o DIP< t/;ujuUh nflll[hu/QIII,

Debussy was so struck by thIs movement that he wrote:

Few works of music equal £1 Albaicin from the third volume of Iberia, where one recaptures the atmosphere of those evenings of Spain which exude the odors of flowers and brandy .... It is like the muffled sounds of a guitar sighing in the night, wi th abrupt awakenings, nervous starts. Wi thout exactly using popular themes, this music comes from one who has drunk of them, heard them, up to the point of making them pass into his music so that it is impossible to perceive the line of demarcation. 5

21

The point is valid: Albeniz was so thoroughly familiar with

the Spanish idiom that his music sounds as authentically

Spanish as actual folk music.

A melancholy mood also pervades E1 Polo (the name of an

Andalusian dance-song), which Albeniz directs to be played

"dans I' espr it du sang I ot ": these 'sobs' are sugges ted by

the broken phrases and syncopations:

Ex. 11. E1 Polo

~

i I - ~ - -->- -

1\ >-- I

OJ - ~ , - ..

,., .. ..... ,

0) =~ == - . ..." ::: + ~,

w

>-..........

w

-

-

I".h"", m"'7u': ."m .• oupl. ::::.. >, -d="YIO'""r

' --;. +

;;;:--, "'~

+

~

~'-. ! ~.

---........ .. ."

-~ '~ 1 II .... -

_r:

Ostensibly the only non-Andalusian piece in the suite,

LBVBpies gets its title from one of Madrid's working-class

quarters, named for a church where the foot-washing ritual

was performed on Holy Thursday (lavar: to wash, pie:

foot). Albeniz directs that "this piece should be played

joyfully and with freedom" apparently to depict the people

of that district who are loud in manners and

22

6 dress.

Lavapies is notorious for its high level of difficulty and

dissonance. The main rhythm is the habanera, a Latin-

American dance of Spanish origin, which was fashionable in

the dance halls of Madrid. The theme however. is taken from

an Andalusian villancico (an important type of refrain

song) .

Ex. 12. Lavapies St&s.~o'1'cmpo,bicn rythm';

In main drolll' mt'::ofO,.'1! Iniun"t "l!uo"'I"'I"r..I/tml·~· ,J ,J .:l:> 2

V '7 ~ ~ ..

.. ,. II

~.

I.M~· leo"

~~ ..,tJ;

..~

x. --f... GT -';-7' .." "=F:;- G7 ~ I,,",. ~ I,tllr;

In the opinion of Henri Collet, the French biographer of

Alb~niz. the fourth book of Iberia contains "the most

beautiful jewels of the collection."7 As expected, Malaga

is a ma 1 agueffa, one of the popu 1 ar dance forms re I a ted to

the fandango. The opening is very striking in its use of

syncopation and rhythmic impetus:

Ex. 1 3 . Ma J aga

I All • M 58 "

A t'gro,·,,·o .. = _.fI'~

o:r f ' . I "'1'~ In .... /" •••. , .• '/. '"/'"'1'

--=>-:-=: r1 ~ ~ d ..... >-o!:""-I .JI<. >-

~

-~ I' =- l':::'--j V-I -c::: I ~ ·oJf· 'fill. 'fW.

>- --.. ~ ~ r-,

{ ~

~. !h.

23

Jerez takes its name from the famous wine producing town of

Jerez de la Frontera near Cadiz (from which we get the

Eng I ish word "sherry"). The piece is in the style of

another melancholy Andalusian Gypsy dance, the soJeares

<soledad: lonel iness). The opening employs a typically

Spanish descending tetrachord in the phrygian mode:

Ex. 14. Jerez

I

d tI \I -" III , .. Au an DO .1 J: .. qa lHlnu.l

1'1 r.-. ,.;;;:.

1 I oJ S *7 V ..... c....r·

rlUU.l" 1'1 r~"f'u",

l' ., ~ .--' .. :

-

~ .....--:~ -....... ~ ~~ .., ;;..: .., ; ::--"' c...,.-

I~~ ~ ''''~·'''il ~ _ • I-----~ '_ ~ __

,- ~ " ~ I'-L-=..~:' ..,l.\ r-,

I

'fUl. P"t'o.\j~~ =­'.i:iO. ~.~. '£ill.

24

Eritafla, named after a popular inn on the outskirts of

Seville makes a fitting conclusion to Iberia. Like Triana

the festive rhythms of the seviJJanas are employed. In this

movement the exuberant mood is allowed to continue through

the whole piece without the interruption of a lyrical copJa.

Ex. 15. Er i tafra

Alleg .... tto g.oazioso.lI.U = J

J '!'':'~''':''======= $'a"alti,!;mo giorola

'-...... ~.

........ ~ . . . ~

lII"rr:utu

Debussy was so enthused about this work that he wrote:

Eritafla is the joy of morning, the happy discovery of a tavern where the wine is coo 1 . An ever­changing crowd passes, their bursts of laughter accompani ed by the j ing ling of the tambour ines . Never has music achieved such diversified, such colorful, impressions: one's eyes close, as though dazzled by beholding such a wealth of imagery.8

25

26

5. SPANISH FOLK DANCES EMPLOYED IN IBERIA

Since folk song and dance are for the most part discussed

separately in this study, it needs to be mentioned that in

reality the opposite holds true; most of the folk music in

Spain is danced as well as sung. Flamenco is often

designated as cante flamenco (oante meaning song or

singing). The singing may serve as accompaniment to the

dance, or it may occur as a oopla, which is a verse that is

sung as part of a dance. Also, although oante jondo ("deep

song") refers to the oldest type of Andalusian folk song,

the terms oante jondo and cante flamenco are also used to

distinguish between two basic groups of dance types. 1 The

latter refers to a relatively modern group (late eighteenth

and early nineteenth centuries) and includes the vibrant

energetic dances which we know as flamenco. The former is

much more somber and is

fatalism.

imbued with lamentation and

However, because of the preeminence of dance as a national

musical form in Spain, and the huge variety of forms and

styles even within the confines of the twelve movements of

Iber i a, it is usefu I to make a separate study of Span i sh

dance.

27

It is possible to designate Spanish dance forms as either

classic or flamenco, the latter being dominated largely by

gypsy influences. Almost all of the dances employed in

Iber i a be long to the flamenco category and even the so-

ca I led classic dances are used in their flamenco

derivatives. The fandango, seguidi llas and jota are three

of the most widely known classic dances, and despite being

associated with a particular province, they transcend

regional classification. 2 The element of the jota which is

found in the Iberia suite is the lyrical vocal copla which

will be discussed later.

The fandango is a I ively dance in triple time (very few

dances of southern Spain use duple meter) with alternating

sung stanzas. One author has called the fandango the basic

dance of Andalusia. However, the fandango survives mainly

in its flamenco derivatives which constitute a very

important group of dances. There are four such variants in

Iberia: a malagueifa (Malaga), rondeifa, tarantas (AlmerIa),

and a fandanguillo (Evocati6n). It is difficult to say what

holds these dances together as a group: it is probably that

the triple meter is made unstable by the use of hemiola,

syncopation, and in the rondeffa and tarantas, an alternation

3 6 3 of 14 and /8 measures.

Chabrier wrote of the malague5a:

"It is impossible to write down the malaguena; the dancers themselves instinctively syncopate the measures ina thousand ways, s tr i king with the i r heels an unbelievable number of rhythms.,,4

28

Certainly it would be difficult to guess the meter of the

opening of Malaga because of the numerous syncopations,

accents and abrupt motifs despite the regular four bar

phrases throughout.

Ex. 16. Ma 1 aga

I Ul • ~I 58 "

1\ ' . , ~gro "noo . . = .J>'>

oJ l' . I .1 ~1'~ lit "..rp,.,·.'.tiJof r,.,"""" ~:>-::-=:: I >. ~ =- T ~ 1 .,. ~~..., E1 -'-- '

:>-

" ~

~r=-l-==-'~ D-r~r~'I'

Nala.gue5as as they appear in folk music anthologies tend to

appear very straight forward rhythmically, however the

overall effect of a flamenco performance with a combination

of guitar, dancers, singers and possibly castanets and

tambourine, results in a great deal of rhythmic complexity,

and we hear this in Malaga. The following transcription of

a malagueffa with a cross rhythm between the voice and

accompaniment serves as another example of the rhythmic

vitality of this dance:

Ex. J 7. Lacorne. Echos d' Espagne

MALAGUENITA PETITE CHANSON OE MALAGA.

Transcril~ et Iraduit .. par P. LACOHE.

*.," .Iuil .bi~n 1113r'lul!r I .. 1"'~mic"I"mps de ~haqll~ m~'"r~ a ~ d~ 1'"ccompal:lIl!­meul. Lc ch:onleur .Iuils"ine Ie rhvl"'" i. ~ ""'S ,e p"';occul'era. celle contratiict;"n rhythllli'lu~ t"re. rr~'llIl!lItc .Iall. Ce '';~lIre .I~ eI,a",u!, •. II duit au.si reteni,' ou pre.­.~I· la \a cUI' des (lIIlcs sui",llIt Ics eXlg~lIct!8 prosodlqu~s.

'"'' ( I" ~ l J ~ l l ... ... ... ... ... ....

"

:v

~

" -

oJ

riJ

... >-

J J

Pcr_ce nloi

/In_'IIt' COl.

~t J :J .

-_ T .,

.. -.. ~ ... ..

It'CCl!UfIll3

r ... 'I'

j'!

-_ .., ..,

JJII ..

:J

> >-

~

b~1:""' Ie, 7:nl,

. .,. .- ... ... ... ~ .... .. ...,. ... .... . --.=. ~ -

~.' ---oO'!!l

... .. ~ ... ... .... .. ..

bel 1;"/

... .,

-... >-

- Ie,

... '*' .., ..

......:I

Et dis ;. I' ,Ii_rn.

... ~ .,. '*' .. ~~

... T

-41 >-

-

... ...

." ."

"

tnu~ ttU~ C't'"

qu, ~n ,.,

:: ... ... .. .. ~

... ... ... .. .... .. -

if ~ J

.. >-

..

P~r ... l'" lIIoi

/lff.IN" "'''"

... ... ... ., ., .. -

>'7'" mOl

,.n - I,,;

... ... ... .. ." ." ....,.

:il:J >-

.. .

if

.. >-

:r :r

:r J -

It! CO!Ul"lIIa

,. - .. p. -

~;or ;or

-... >-

.. ..,

.­>-

.-'--

... ... '7 .., ....,,:::

29

3 *One must accent well the first beat of each /8 measure in the accompaniment. The singer must follow the 3/ 4 rhythm without being preoccupied by this rhythmic conflict which is very frequent in this type of song. It is also necessary to retard or quicken the note values in accordance with the requirements of the verse.

The rondefla below shows a characteristic

giving the effect of an alternating

signature.

Ex. 18. Lacorne. Eohos d' Espagne

(See Next Page)

6 /8

30

herniola device

3 and /4 time

Ex. 18. Lacarne. Echos d·f Espagne

EL ZORONGO

Transcrile pur

.I.I'UG l' ALSUIIDK , ,\Iod.ralo (II .•• =69)

PI.I.:;O.

i I~ l?

.... 11:1 .. \'1 .. l't~, dCII). na .. ' i _ ...... , 14t1.r; .. u do. ..a .. r ... ur.

= ..,

Truduile P''''

1'. LACU.H t:.

\11 na.)i .on', "I'U' na .. \ i...rto"

,'" ,,,, ... ,i ... u ,luI 141' ... fl..llIl,

V

I .... .. .... L ~

..,

St~1I \unl Lit'll lulU \'''~'a _;':1'1"

Tr",' .n .. rI .. 0. P"" I., IIIl1r!

-1=' .

111 1'"

."

."

'i i 7 ; ~ F .lla;. "il '! tI Irni,

Nfl .. rl."'.

1II,li ... ~'il ~. ;~ Irui!j . '\, hll .. bu, ... raj 'l'III ... lro

UiI ..

--- ' --\::!::::i== 1 -.-

I" \i_rt:!i_ Chi un d. 1'1,,:- acoII'f1-l',,· ... f.hl un ,'to "Iu-; if. cump_ - r._ "'. Hn ... brl_U 111111 • q'''' "UN ... l(fr •.• Hn_ br .... ,. m,,, '1",. I'nlt.

~

I ~

,,7;'-. ~ .r.J_r.-, r-=""! ~ rI"'t :--

.... I . ii-:'_ ........ ." .., ... '.- .. ..

31

32

Albeniz exploits this in Rondeffa: the hemiola treatment is

quite systematic with continuously alternating measures of

6 /8 and 3/4 :

Ex. 19. Rondeffa

{ I

A.llegrotto. M.M .• ·:ff6 _ .. >-==--A~

" ~ ~ .. t mf

/'I :

T~=J.'7i~ V V' .k' _lK ... 1 pr,,..,.,,,

~ r

i -----=----.J.

t.../ ~t>- .'7!'7"""~ --.J V~ V r -~ k .

~-.. ,

In contrast, a subtle simultaneous hemiola treatment is

employed in Almeria; note the alternating time signatures in

the left hand only:

Ex. 20. Almeria

M.M.J.: 72 A.llegretto modlJrnto

{ .te. >- 11;. , .ll.. ~ >-:, ~ . - 1),

-= ~

i(~ ~!i=~'" "- 'ir= =-i-r'-O .---.

loJ lL!"r ~ ~Ji~ r-v i-Ii I I i -= ~ I-==:::::: -=

I rilll,'" ::r-

~~ ;> ~.J-) >- .A. ::>- ...

, tz:=.-

J- J- I

~~ .r~ ~"b.

'fill. t.'lI.. II •. b . . "'c I, ptlit. ptdtlr.Tout u mortuu doit ,In J(.Uf d'ullit r'~011 aoatl .. luta tl mo .:ml" ltD ,,' IIltt.

The languid, swaying nature of the piece is Moorish in

style. Apparently Moor i sh and Oriental dances are

characterized by movements of the body rather than the feet.

Both Malaga and Almeria lie on the Southern coast of Spain

directly across the Mediterranean from Morocco and Algeria.

33

Hav i ng s ta ted that the above dances are der i ved from the

fandango, two additional characteristics should be noted:

an increase in speed as the dance progresses and the

introduction of sudden pauses when the music stops abruptly;

the dancers freezing in position until the music starts

again. A segment of A J mer ia. that seems appropr i ate for

these effects is:

Ex. 21. Almeria.

---. .... .... >-",.., >- .

~ ~ ::::-. ., .... '+F if-

::==-

"">- >- '::> >- >-

T . --... y

{ 4- . L. --I- ,. • L .

.,.. ~x

~ ,.... --.

r-

... - - - -- - -.<f f==- f=- f= J=- If "'j' \.",. s,.,- - -- '1'" \rt' 0."" ..- - I

1"""1:

.r ~7 , -r r T T 1 !tT 17 f J f· IJ

~~ ~ f t:'I • Tempo

., p~

..... ~ -~+~~ __ 7 t:V-9 lUll.?" ':::;:V'H I I '1 c,..J ~ >-"== ......,r. I I I - ......,.L , >-.L

J\iTrT 17 - ~ I r....:.--- L.:...--~.

34

As with the fandango, the seguidillas is stylized in Iberia

in its flamenco derivation, the sevillanas, which obviously

originates from Seville, one of the principal centers of the

gypsy art. 3 t' It is also in /4 Ime and is characterized by

phrases beginning on the weak halves of the beat. This

gives an impress i on of a cant i nuous forward mot ion in the

music. Triana is a gypsy quarter of Seville so not

surprisingly the seviJlanas is featured in this movement.

Since the revelry of a flamenco performance will frequently

conclude with a sevillanas, it is fitting that Albeniz chose

this dance for Eritafla, the finale of Iberia. Examples 22-

24 compare a well-known sevillanas with Albeniz' use of this

rhythm in Triana and Eritafla:

Ex. 22. Aguila. Las Canciones

(See Next Page)

Ex. 22.

Ex. 23.

Aguila. Las Canciones

SEVILLANAS (Andalucia)

J. de Juan AII~no.

g'a:: II ~ ~ , :;

I. l.7

D ,6SGEar' lO .. daslasma .. ,. nJ

QuCn len .. .9~.. toJ qur 'Ie

Sol II La' h

~,J p , J<2!D ' J,"1 la, .1 e, .. re can to,

tJon.d4!...ha na - cj do,

QuenoheYco-sam f't min __ en el be .rno mal blan

do co-mo ml co que,2I1YIUMOal

·J:J~I ~ I, La 7 I.

""!' Ol<£££D J. "t p p p I ~i=== 0,

trao.

SI/=- , .. ' ~': ~~

... t c; , p ~ C P > c ..

be 'no. que~., CD - ~n or rI 0. .. .1 be -rno rnOs

Triana

flu W"'-_ ---

>­= :. _'. :. _. .L.

1 'fell,

35

36

Ex. 24. Er i tafra

p:--' "",I"/f,,",.,,rf'.,Wlf'1t,nf

~ t.O. ;;; f.lI.

~ .. I :,;:. ..... ;:" ;::....

~:--- ==== 1\ , ,..--r-. :+ ......... I

~

oj ~ ~ -=::::> ~ ==== == ~ == .---p -===:: ==--p 'j===-p

~ == >~. >-.... --....-.... ::>:' ~ =--F-' >- '" . t:= = l=; ~!:.L~J.~ ~:;..:: .L ~ ~ ~ f=F==: ., ., ....... .Ji ... +~+~ , ,#.L ~.:* J.'; .~ ~ .. ~

i-;9':' f. ,- - i-~i' s ~. ~. ~. *

There is a curious metrical irregularity in measure 7 of

Eritafra (See ex. 15) by the inclusion of an extra beat.

This probably can be attributed to the improvisational

nature of flamenco and the irrepressible forward motion of

the sevi llanas. Chabrier described his impression of the

sevillanas thus:

"It is all rhythm and dance: the guitarist have no value; besides, account of the cries of Andal 01 e I .•. ,,5

airs they

La

scraped out by the cannot be heard on chiquillal Andal

One of the most exciting forms of cante flamenco is the

bulerias, a vibrant combination of percussive accentuation,

syncopation and dissonance. Albeniz stylized the bulerias

37

in £1 Puerto and more extensively in £1 A1baicin. As

always, Albeniz is meticulous in his use of accent and

staccato marks, in this case to emphasize the dry, metallic

plucking and strumming of the guitar.

Ex. 25. £1 A 1 ba i cin

1\ .... .. - .. -- ; I -- - .... ....

oJ I I I ... ~-"!:::;:; .--- .....

1 -J I

1- J >1 : >i I :1 ~

~

II - > > >

oJ t:r"). I l' f~r' ~~ 1 i' ~ ... ~ '-3-:}/ ! q,!" "ff'fi),.

> > >

{ I') = = ,.r ~ .. ,. 1r(' ,sr" H'" l'" -

~ ., .--- .---- .---- I -- ...... T .... I -- ~ '! 1 I -> I > >1 ::>-

1\ ~ I . >- .:>- • = , -..- . ..,.. . I >-

oJ .T '--T-.: [ .. ~~ ·,-T~ ..... ~ r··~ ~ ~""',-=;-'.

II ' , -- ......

oJ

>1 ... >1 i>

" >1

..... i > ~J ./,·.pilu.o ~ Jf I . ;::: >-I I =~.II F"=...., r-:-'I ~ .~ I I

~ .. ~ I .!" "- - [~: ~ 'II<

~ • t ~ .. "t

The designation strepitoso (noisy, boisterous) is highly

appropriate as the rhythm of the bu1erias will be punctuated

with slaps on the guitar, handclaps, footstomping, and

shouts.

38

6. THE PERFORMANCE OF FLAMENCO AND THE GUITAR IDIOM

The previous chapter discusses the rhythmic variety of

several of the Flamenco dance forms employed in Iberia.

Below is a description of the overall picture of a flamenco

performance:

The most popular method thoughout the Hispanic world is the

cuadro flamenco! which comprises an intimate group of

singers, dancers and gUitarists arranged in a semi-circle on

a slightly elevated platform. The audience are themselves

performers, clapping and shouting words of encouragement to

the singers and dancers. The guitarist will provide a

prelude to create the proper atmosphere and mood, and knows

instinctively what the performer is going to do. The

guitarist plays a dual role as solo and accompanying

instrument, but it is chiefly used as a rhythmic instrument

which we have already seen in the bu1erfas of E1 Albaicfn.

The festivity is further heightened by the random

combination of shouts, heel-tapping, stamping, castanet and

tambourine effects.

Walter Starkie has written a descriptive impression of the

bu1erfas: 2

"They are sung in order to exci te the dancers to frenzy, and are danced with the taconeo or hee 1-tapping of the old tango. The bu1erfa certainly is a dance full of gusto: it is the ideal dance for the juega or spree. The gu i tar i st is the first to announce faintly the spree; he sketches

the vague rhythm: then comes the wine which loosens the tongue, dispels black thoughts and flushes the sa II ow faces of the gyps i es. But it is the gradual crescendo of the hand-claps - like the dis tant tramp of a funera I process i on up to the thunder claps of the bulerfa - which releases the demon. Then the cuadro flamenco begins to combine together as if by magic and are on terms of equa Ii ty as dancers: there is no pr ima donna among the girls. One by one they emerge from the background and occupy for a brief moment the center of the stage in order to express the i r individual theme sustained by their companions."

One author has written of the play element in folk music:

"the performer embellishes, alters, and often distorts, making the impact of his own creative personality felt and revelling in the joy of being a cause. He takes pI easure in technique and its mastery, and in the course of exhibitin§ it, he wil I deliberately attempt the difficult."

39

This is very relevant to Iberia and probably accounts for

Albeniz' attitude concerning the technical demands of the

music. Also, perhaps the reason for the frequent dissonant

figurations and seemingly excessive amount of notes is that

Albeniz was depicting the combined sound effects which are

so much a part of flamenco. For example, this texture form

in Eritafla might be interpreted in this way, rather than as

a complex pianistic technique for its own sake.

Ex. 26. Eritafla

(See Next Page)

40

Ex. 26. Er i taffa

~rf!!~. umprt'

:>--: »,,---...

~. ~. 7--== 1 • ~.

This excerpt from Triana may well be depicting the shaking

of a tambourine in the course of the sevillanas rhythm:

Ex. 27. Triana

~. A"U-L .... ~*'L .... u ch. ,x _=< _T - - ~ .L!.. ' . .,.....

I"' y ;:::: -1~- - 1. I === i --=== l' JJ~~~ mll~ -----==:::;;-.. .

~ -II. ~r:-:l ] ~ -" t " I 1 ;'.L~-1 bJ~ .;!: i I~_ L : - .

r " ... r ,- -. . -~ ..JCf~. ..... ~ ...... '" CfUl .• 1-' ,

The technique of the guitar and its predecessors

probably been an influence on Spanish instrumental

41

has

music

since its origins. Certainly, the imitation of

effects in the sonatas of Domenico Scarlatti are

guitar

we I I

documented and this trait is common to all the composers of

the Spanish school of piano composition (Albeniz, Granados,

Falla, Turina, etc.)

The two

strumming

principal

chords

methods of

(rasgueado)

playing the

and plucking

guitar

notes

are

in

succession (punteado) which are illustrated in this example:

Ex. 28. Dcon. Cantos Espagffoles

(See Next Page)

Ex. 28. Dcon. Cantos Espagfioles

RONDENA 0 MALAGUENA (Usm:D4.)

IC li:' I Mth!liil ,I iii {;IHI jil = tJ z::t ....... +. ... 4· -4 • •

. l@iirg;:l ;1-; I;; iiiJijii1ii;.tIl!' ~-:I ~. 11 7 l1' 11· 11· 7. • :;;;.. ;J .. 77. D.C .

. :., . .... . MALAGUENA CJomrriuA.) ' .• . ..... . " ro ...... rJ,,4iea .. u,... I Antln'"" *"" JI~~ir.

AlIrgret1o. (J: In.) . -~ '-~ -~ ~ ~ P'T'M ~

Gultllrrn ... ': 1i r I ; r I ~ r I .- I r r .- I . ~

I ~ ~ I

Canto • ... '.

Pinno. I- ii 71 -'"- .. .. 't¥ . :w ;: 7 .. ;: ...; fi • 71 :;: ... ;

... ... ... ..A - ;t....,;!.- ~ --- ...... - -'"""" "'!-.

_ ..... :--..

OJ r I • : .. , ~ r I , 7 7 • I i

OJ

I ... ; ..; ~i'" ;7 i71 ::; ... ;71 i ar ;71 ; .. ;. .... ; .. ; .. ... ... ... .- ..

42

A combination of both effects can be seen in the bulerfas

sections of EI Puerto and EI Albaicfn:

Ex. 29. EI Puerto

(See Next Page)

, (

{

43

Ex. 29. El Puerto

> >- s····::;;::oooo ••

'7 - "'r--.. . A. .. ... ~ ~ . ", >- -~ #-. , ,"" .: .. > .. .. IL.

oJ '7tr.r~:::'7> - J.f! 1 It" .- - ~;~ " tP >0 If .,n9 FTl J1' hT . .,~, , ~.;. I.' - ... .A. '7 !""': .... ~ . :

~. " > ~.

" I, - - -0'-

Ex. 30. E 1 Alba i c in

" .. ' .. .. ... --- -, - - .... - = > >

,::

oJ

>1 ... ~-,~ -~

i -1 !

J I i 1 1 J I >1 ~

" , - > > > -

oJ l'r'",. l' f~i' ~~ -f ::1;~;=~ .•.

__ II' .;/ : q~

" ~.

> > > I'l = >Fe ""f' ... ,.t' ",..' ,,.,. l'"

I = -~

,

oJ ................ '''''''' >~ - • I ..... .... '! ..... "'!' I >1 >-

I'l ..... . .".. = 1 -.- .> I > -IJ .::! T' '-...... "+ -r' .~~ '-......'-'*~ r··~ --.JT ~...;:':'*_-=it

!ill .

" , -- . -. ,.~

oJ

>1 ..... .;

>1 f>

.;

i> I > ~j' '/"pi/o,o

=== JJ > FF1~; , r--T"" === t- .. 1 1

J' "t-f '-.: - [" ~ .£.'~~ 'b. '*'

44

Note the designation in EJ Puerto: "rudement marqu6 et bien

sec" (harshly accented and very dry).

In contrast there are many stylizations of the beauty of the

guitar as an accompanying instrument.

Ex. 31. Evoca t ion

Allegretto e~}lressivo 1\ , ~ - ...-=

; t! ~ • .... v.... ,. -' -?~ =-= tI",.· ... ..... I~' ~t\ ~'" c-r---:h

, 'tw. ciw.

Ex. 32. Jerez

P =- t:::::: pULO "~fu I ~ JL~~

f-'-====== ======~~. - =:===-'tW. 'tW.

45

The following quotation gives a wonderful indication of the

importance of the guitar in Spanish culture and its

influence on the music of Albeniz:

[Albeniz, Granados, and Falla all] admired the guitar as aficionados, but only Albeniz grew up playing the guitar as well as the piano. A fr iend, the painter Octave Maus, remembered him during his student days in Brussels as "a little black [-haired?] man, bearded, squat, who arrived from Spain in 1880 or 1881; in the folds of his cape, which was proudly draped over his body, he hid an enormous guitar. In the intimacy of studios and salons of friends, he sang. Leaning on a tab I e or on the arm of a cha i r , his eyes wrinkled with laughter, his fingers nimbly plucked the chords; he evoked on those unforgettable evenings the Spain of the dance, of love and joy. And often the concert was continued in the nocturnal streets with serenades and Andalucian songs."

Albeniz went on to become one of the great pianists of the century, but like Scarlatti before him he wrote for the keyboard as if it were a guitar. In E1 A1baicfn of the Iberia Suite, for examp Ie. he recreated "the deafeni ng sounds of a guitar that laments in the night," as Debussy once described it. Many of his works are eminently weI I suited to guitar transcription; as he himself observed when he heard one of them performed by Tarrega on the guitar: "This is precisely as I had conceived it,,,4

46

7. SPANISH FOLK SONG

Musical Characteristics

The most obviously defining feature of Spanish, and in

particular Andalusian music is the melodic and/or harmonic

cadence formula based on a descending tetrachord

corresponding to A - E on a keyboard (referred to as the E

mode): 1

Ex. 33.

E mode Iypes

~~~S'~i~! !~e~IEr§: 1~~8oE5!~' ~e§I1~~~) ~ ... e,8g~{ .~! I~S~ (e)

iiliS§ !I~§dl

The paral leI triads dissociate the mode from the tonality of

modern European art music. These excerpts from two

Andalusian songs, a ma.1a.gueira. and the popular £1 Vito

illustrate what we think of as the Spanish idiom:

Ex. 34. Pedrell. Ca.ncionera.

(See Next Page)

Ex. 34.

II

--.I

1\

-.I

Ex. 35.

Pedrell. Cane i onera

--= I -,

~ ~/if ;. If if 1-

~Ffi1...

r I I I r

-~ r r p ff.i..fFfj- Jffl-

'r r i I r I

Aquila. Las Cane i onas

EL VITO (Andalucia)

J. de Juan t.~

p I [ (51 Con ,I vi.. to .; to vi . to _

11/ Lo.

4-0 ~ p' S r 'p j

IIi II I "a 111 ¥ 0 C :1

_ can" 'II ·10 'I' ... to "I _ Con.1

~ ..- II, 7 ~ So, .~ IIi 7 t.~ Sol J ' }.J'I F ,Wi I W' ~ I .;'1 ¥~ p I Yo no qUI •• to No rIM mi .. ,e, U .. M ma .. Ie .. las 101 .. t. .. raJ

que me ml .. ten II I. CII .. r. sue.M luG I sonde 0 .. to

quem. que me S..VI ...

'.1 ca ..

poneto CD ... '0.. t •. _ Yo no quit! .. to que "'" .,on-Io co. b ... r •. _ Yo no qule .. to que me

.. Ia... ver los to .. 1"01. V!!, 11 ml .. tad del ca· • sa .. dla son d. pIe .. ta. lA. viu -dl .. tal Jun de J.'. II' LI. Sol'a Sol :4.s '1'«3 .

., J .4\ I· ) ~ I P j I p J I '€) II mi.. r.. qUill me poo-so CD .. 10.. ri._ ml _ , ..

-ml _ no

co.. bre

que me VIS ~.. not .. ma... ,ar._ .. cal ... tI ... v. .. ron \os mo .. ros.

y I. vie. ial d!.lo. ",. II - ...

47

-,-

r

48

The most prominent example in Iberia is found in the opening

of Jerez:

Ex. 36. Jerez

I Andantino \1.7ti= .. /rqa/i"imo ~

PP~' i~ ~. P"<~'j~~ ~.~.~. r~V' ~.~.~ .. 2~.~. ~.~.

Here the triad on E retains the diatonic third. Usually as

in the above examples it is raised which gives the

impression (accustomed as we are to Western Art music) that

the music is cadencing on the dominant rather than the final

of the mode.

Hajor and minor keys are also very common, and sometimes

melodies may be a combination of the E mode with elements of

major and minor:

Ex. 37. Rondeffa

(See Next Page)

Ex. 37. Rondeffa

l'.rp"r"i,·"

" r--7I ---;--- - - -t(~

I~ .............. 1 ........ 7- ~1!r. -fij ~"f ~:) ............

.. 2"-

I "'llIIu;,\ hi,." 111111"/"';

' ...... pp 111.1

~~\.rT"1 ~ .-.. .l'i.ro :

- - .. ~ ~2- - -;9" ________ ---f' ~.

7'"'--. ~: -9- • ru,. ---_.-" , ~~-----

fI ;0 - - ~_2_ r:- -~

{ -

~ ... ... -r ···~·2~~-$" :t?~ .p . -.,-~ -I p,,"') "''''f!' sf

II r71 ~ -p ~- I"'- - ~ :-:l - " .L t,J.i. ~.A. I~ .. .L .. L~

- "'V'" :='2 ___

:~ - -7 ______ .-2-r ru,.

1\-;--'" - .,..,n'p,.,.--;.rjJr .. 'H/ I ~ -,-- - -.-

I~ ~9-' =G$~:: ~~~::D ~. .. . . • G" "'..-;?j:' -.:-+ l!]"L!:J -., l"I" 7r r~

! ...£p ~ :

-=~ ~

1(' '.-6-. '--------I ru,.

PP ,....., -.-, :t,~~ ~~ Gm~,

r-=----_____ r' ru,.

'<-.-

-- ~ -~ ---' ~.

~~-----

49

Not surprisingly another trait of Spanish folk song is the

vague or ambiguous tonal character of some melodies.

Another important feature of Spanish folk song is the use of

the so-called Gypsy scale with interchangable major or minor

2nd, 3rd, 6th and 7th scale degrees: 2

Ex. 38.

g i. 9- • ,«. 0

1. * 0

1.

" 0

0

The characteristics

prominently in Almeria:

Ex. 39. Almeria

~UI.J. = 72 AII~gr~tto modornto

of this scale are featured

{ 1'1 ;. >- ~ t\ _/\ ~ ~ ~

1\ •

, oil

:

1'1 "

, oJ

:

..... :-=---==--;; , • oJ '1"' ___ .,.~~ I-Y:"-V ~"'7T1- ,-;;:". II

~ i -= ~ ~~ -===: 1-= ,j,/" >- __ J--l :;>

_~1-) I ~ ..L >- .L

~ --~~~ ~~.

I

'£.~~ I~

f.o.

~ 1...---,-.,1'1 I -"':-:;:=- .~ v-;-h 1

..: 'l-. '1- Y N'7T, W 1'--J 'F--~ 8 1¥= I-P --= -== ~~ :== -= --= :;>

~ ~ ,

~o. ,,"*' .-, '£.0.

-r- .... - ..,. -

~J r

~""'I'I ,. If,'r

~ ~ r ~ --,---- .f~ ~.

>-

I~ 'fill. -= ::::=-

>- .L

I:::-..... -- T-

- -~ .~

f~~

>-­..

~ .

£;. ,,~ ..

.- T - -

--==:::. ===-~ ... ~.~

'£.0. ~=====

--=== ====-

I~ ~. =

50

very

51

Albeniz exploits the potential of the variable gypsy scale

to create a sublime effect by the use of whole-tone scales

and harmonies:

Ex. 40. Almeria

fI" - _JL'" •• a

-

( ( ;'l IfI~ tcL-.

,"' -~ i ~-: I

b~o I 1 __

• I

I , L -.

I

~

...... 0..--

,...........;-~ ItL~~L,1 . ----~

rI,."· ... .,' IiI. -

''''''pr,. dfJ{c~ ,f p,rrf,.nrlo\; .----..... .---

I~ = ...... .L

-~

I.......:i;"": ~ ....

k-l=~ ~I~~ -, , :a:--ri~

1'--- -I "

Having mentioned the importance of the descending tetrachord

formula it should be noted that Albeniz incorporates this

very early on in Evocation. It is as if he is introducing

the suite by presenting the most Spanish musical trait of

a I I :

Ex. 41. Evoca t ion

(See Next Page)

52

Ex. 41. Evacati6n

II -{ 1

01 ~+;;.+~ .... IT"';' ___ TT ~"'7"'''''''' ry ___ T-..,.

~T ... T ... ""

..-:--;- ';.-t"""-.J.) I u-""'" 'J~ ~ pp~~ /" . ~ . ..-: 1- _.

~ ~. ~.

II' ,""'ir .. -- ~

{ loJ T ... T P'+..,. ... ..,. ... T T T. , . -~ • • ) ,

= ,j'I •. ~~ ~ ,...-- ~ i'\~ -:--, ~~ ... ~ t--•. = .

_.v· ~. "'. 7' V· ~--:--_--I ---------, ~.

Cante Janda

The oldest and most characteristic type of Andalusian folk

mus i cis known as can t e janda ( .. deep song"). Manue I de

Fal la, who made a profound study of cante janda, stated that

the three main factors in the development of Andalusian folk

music were (1) the adoption of many elements of Byzantine

chant by the primitive church of Spain; (2) the Moslem

invasion and occupation; and (3) the immigration into Spain

of numerous bands of Gypsies, most of whom settled in

Andalusia. 3

Gi Ibert Chase summarizes the features of cante janda as

follows:

Following the analysis of Falla, this influence manifests itself, first, in the use of enharmonism as a means of express i ve modu I at ion; that is to say, certain functional notes are divided and

subdivided into intervals smaller than a semitone, obeying inflections of the voice which in turn are determined by the expression that the words of the song demand. There is a I so the frequent use of the vocal partamenta, the practice of "sl iding" the voice from one note to another through a series of infinitesimal gradations.

The melodies of cante janda generally move within the compass of a sixth, but the use of enharmonism na tura 11 y extends the number of tones ava i lab 1 e within this interval considerably beyond the nine semitones into which the sixth of the ordinary European scale system is divided. Another markedly Oriental feature is the repeated insistence, amounting almost to an obsession, on a single note, usually accompanied by appoggiaturas from above and below. This produces the effect of a sort of incantation, such as may have been sung by primitive man in prehistoric times.

An element that cante janda shares in common with Byzantine chant is that of ornate melodic embellishment, which, however, is never a merely extraneous ornamentation, but a result of lyrical expansiveness induced by the emotive force of the words. These embe IIi shmen t s lose the i r essent i a 1 character when an attempt is made to transcr i be them within the fixed intervals of the European tempered scale.

53

Therefore it is virtually impossible to convey a faithful

impression of cante janda melody through the medium of

modern European mus i ca 1 nota t ion, because of the chroma ti c

inflections and subdivisions, and because of the free rhythm

which does not conform to regular measurement.

In £1 A1baicin, measures 69-96 (and also 131-150) represent

a stylization of cante janda, the deep song of Andalusia in

the form of the seguiriya gitana which is considered to be

the purest form of cante janda.

Ex. 42. E J A J ba. i c f n

{

" Tempo ... ,I?rt" ppp.,I""

1\ ~ 1:'> '" :. ~" -- -,

::r. oJ -~ I 1 \-o~ 1 I;

: -~.tr'nufl' I I 1

---t:

- .- . ') .. ' tL , ~

tUI"~"PCtl,.,. ~ 0~", ~

"'- -oJ I'L ...-..==-- --=~ ~

... -..... . I

..... .r'-=-~.

fl ..-- --- . .- --oJ

I

stesso tempo ohe prima

J

dtPO 101 pttitf" ptda)"rt tieD uniform" dt" ~.IIII},.itfl"lI cherchaul ctllt dfS io!ttramfDh. .. lach,

... ~ ":

I I --== -= P #Ii,." QTlif.'ul';

I -- :::::-. -#----.-~~ ,-

~ .... ,,7 /"" -.-:::.

- I W I I -~, F'u\ lUljIIlr '1{'1

I 1 I ....---::=:::::

. ~r' ~ -(,1 '.J

--!..' ...:,.....-: prt'Ui: un r"u

u. __ 11-

n!J"/--= =-~ ---= = --== ~ ..--.-:::::: -- ::.

- J

ppp 'I' ppp au 31ouv~

c:t r'1 r'

~~, 1\ , ~, ... :;;" ... ,--::::;..., -oJ I W>i I I W>I I I I >, I t

1 ! I I I ~ - 1 1

~r- ...... ,~ - rZ -----*' 'fill.

SHU'U ru"uf,) " Tempo

?;;" ~ '" - ppp> ~ fl . - " ~, ~ ... '1 ) .. -==-

01 ~I W>I 1 - I..J >; IW >1 I t\ ' I I I

#JIlt-up;;' ~f :I: i I 1 ~ I

01 ~r: _ ..

i~'i *'

54

55

Falla stated "the absence of metrical rhythm, or strictly

measured and accented time" as one of the elements of

Byzantine chant found in the seguiriya gitana. Despite the

bar lines and time signature Albeniz achieves the necessary

effect of rhythmic flexibility by (1) the upbeat beginning

of each phrase, (2) the tie over the bar line, (3)

syncopation: notice the subtle crescendo markings and slurs

leading to the syncopated B flats, and (4) the caiando

designation. Essential melodic characteristics are (1)

stepwise motion within a limited range, (2) the dominancy of

a particular note (reminiscent of liturgical chant), and (3)

ornamentation. The interludes and exuberant piano writing

before and after the cante jondo theme are of course

stylizations of guitar effects and representative of how

such a piece would be performed. Note too the lengthier

third phrase (mm. 81-88) which shows the stanza form of the

seguiriya gitana. Incidentally, Albeniz was fond of

depicting cante jondo copias (vocal refrains) by writing in

unison two octaves apart. Other examples can be found at

the end of Ei Corpus en Sevi J Ja and in some of the Sui te

EspagfloJa pieces. Manuel de Falla also employs this effect

in his "Nights in the Gardens of Spain".

56

The next example is a transcription of a seguiriya gitana

(probably as good as western music notation allows) and

illustrates the musical characteristics listed above.

Ex, 43. Rossy. Tearia del Cante Janda

; .

.. ~ .

. ' . ': . , ..

", ... '" . ~r;~.;-;~.. '. " .... .-----:=~-:-:; ... ~:. . .' :' . ~-.. -. " ..... ' ... !.~.~::r:;~ ~\.i,O:-,;;;;:~.:".;;. .... :. "':~-7<;:""-' _.:..;..::. ........ --': ..... ..0-- --.-- \··~.;..;:.:.:O:'..:.t __ ..... ·...:l.:.,.=:c;a* '!I.>:"2:.;?'!t. .' .' : :-'- -.' ," .. ,: .:'.: ':-.. ,-' ~?:" .; '.. " . , . . :. -:-:. -.' .~ "'::-::."'/~

, "

".I ~

eli f

• !. ;

I I

+l-I

• • . I I I

I

• .. • I

1 I

I

..:.. ~ 1\

.\ . I , ~ • ,

I

" •

H-i I

0\0 ~

+' ~ t.

I • .. I

• •

~I I I . :. " • ... -'""'f_

.... 1-

II I - j{ ~ I · I

I , ~ • •

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t ? r ~

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, I , > · ... I

• ... · -f .):

~ ~

~ · .... F' .,

~ I .... I:"

,)~ • I ..-.. ~

~ j~ · · · ) ! , · · -" ! .. j- .... J.. ... : ~ _. -' 1 l'

~\ .. · I

• ,.. .. • f • ~ • ., : • · · , • , , · ~

, /

I · ., • I ·

57

.. ,

: - .. c . J

I , 1

.~ ,

" ,

~ I

" D po..

'!t ! I · · • ; I I

F ~Y 1

.. ~ 1 I I ,

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s;-'.

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.: . .. ~.l"::~.:, " ....

,

.~ · , I I

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! I ~ .~ :- :

'<I I ,

j I I 1

41 , 1 , · ·

rr I I .. , I

i 1 I

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i .:.--:...a - -

~l I I

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.~ , " ~ ~

-t '" .~ · · · t>l I I

I , I

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.~ I

-+ :I 1\

01 r' I .. : j I

; ! : 19 , I V , , , j

, I ,

-1 ( ;, I

~

O~I + J.

"

- \

~ -S j-, I

~ I , I , I

!Io ~ I -p. i1 ;;

.....; 1; ~

~ <' I . !

~

~ >

0\ t I ~ ~

fo : ; .

I , , , I I , I

..!~ ) ,

I , . ,~ 'J

I 1

~ 1 , I . I

I..!.

:) r-: I ,

~ 1 I

.\0 I ,

.1. I ,

~ .: I , I I .... I 1 , r , I 1 ,

~ I I

~ -,

P 1 \

010 ~-

~ r ) I .

~ ,

II , I

r I

.I, I

~ " 01

I

~' I

1111 ~ 7

II

According to Gilbert Chase:

"in effect, the seguiriya or playera is fundamentally a lament imbued with the ineradicable pessimism, the profound fatalism that

stamps the most genuine manifestiations of cante jondo. Derived from the seguiriya gitana are other forms of can t e jondo, such as the po 10 (E 1 Polo), and (more remotely) the solea (Jerez). The solea or soleares (from soledad, "solitude") is another plaintive song of sorrow and loneliness. Those who think of Andalusia as a land of perpetual gaiety will be disillusioned to learn that suffering and sorrow are the chief burden of most of the songs of that region, at least those which have their roots in the Arabic-Hebraic-Gypsy strains."

58

Another wonderfully effective styl ization of cante jondo,

the saeta, is to be found in EI Corpus en Sevi 1 la. This

rather unique movement is a depiction of the popular

reI jgjous processions of Corpus Christi and Holy Week in

Sev i I Ie. The piece begins with the imitation of a muffled

drum beat and a march theme (actually a quotation of a

popular Spanish song called La Tarara).

Ex. 44. E 1 Corpus en Sev j J J a

f1 • ~ - ~ ~ ~' - ~ :...

{ ... ~ ~ V"7 ~ 'p ~

~ ~ I~ ~

pi) ~

.\ .. IIIJl"" PP ~

" ,

: . .. ;. .

;".' . ... , .. .:..

{" • 'V' • ~"7 "7

59

The music is continually intensified and at the cl imax the

saeta enters in fortissimo octaves. Here is the complete

saeta melody (see ex. 6 for the piano texture):

Ex. 45. E1 Corpus en Sevilla

o I J.

The saeta, literally an "arrow of song" is a semi-

improvisational lament invoking the sufferings of Christ and

is taken up by one spectator after another, passing from

balcony to balcony as the procession moves along. The

ending of the piece is especially evocative: a tranquil

cante janda melody reminiscent of the saeta is stated in

unison two octaves apart over descending parallel harmonies.

Ex. 46. E1 Corpus en Sevilla

(See Next Page)

Ex. 46. E1 Corpus en Sevilla

ADdnDtc. r.- r.-

1\' ~ "- .~ -01 ... I '~5""'J1, .. rld, . ., ..-'tf ...

PPpl -Fl ... PPPPI 1'1j 5i

" .I..::.~ - ..,.. ,L' ~" ;

" ~ ~ ~- -q:-_ - _ , .D: "~

-j ---i-'t' ~"!y -. -'"OU' ~.~ ~. ---------

rlu/t't" IIIU ,\OIlOI'IJ:)I),

-=J'

~ ... I ~.

,~1

Ii -I q~~- -~

~~ J,~

- --q~ ~------------

60

The Copla

The copla is the lyrical vocal section that occurs within a

dance or it is preceded by an ins t rumen ta lin t roduct ion.

The basic model for the copJa is to be found in the jota.

one of the aforementioned classic dances of Spain. 4 The

jo ta is regarded as be i ng pr imar i I y Aragonese. however. it

is a I so common in Navar re and severa I 0 ther prov i nces and

occurs sporadically in Andalusia. The characteristics of

the copJa; eight syllable lines, much stepwise motion, and

ornamentation on the last syllable can be seen in these two

examples:

61

Ex. 47. Angel. Mil Canciones

il~-I1. ... • .. o ~ *3 Ii) P ~ ~ ~I~ I t. ~ P p J. J' I V. /I v, por I., rin. co· nc, ----

~, ~ ~ tJ? 1 I I ), J V , ,. ,. .,. par 'A. rin" co .. n.s. ----

I ~ ~ P F I! JI I ~ ~ r Ell t ) I) 31 ~ ~ P I V, If.!."·'rh .. tt .. un 101 .a ... maJ , J'!. Ie .. 9"'" 101 PI-

r Ei I Ii I)' ~ e p Wi J I) p r dJ IZl 10 . 1 '~C¥='.n I~. 0 -""

l! n ~, p p P II =B -Til F J V. c. VA .... nim~ Sal. ---------

Ex. 48. Angel. Mil Canciones

T I It· c. ti ... nn ',. u .. ,.., ma· l: s·c .. :" • c. - r •. ",. - •• - - - ~:::=

0'= m j £ I ! ! I 1 j J I J " , I i J W : t I I ; {i .. fll .. c. _ co-mo lo,"nt,·I •• u .. fa .. n,,: ....

'I (01"1 U .. ne .. - pe .. I", .. J I .. u. .. ..

i ' 01 .. ten que' no no. qUI_" .. mo.

"aU _ -JO" iii i :; Ire I rill: [

.. rr .. mal _ . por que no "0' un h ... bl.r. - • I •

@'l!= ; T 1 I ;1~. [ a " j I J 4 J • I G i . ,rl""" .. "r... ..

'II ~ i

We find such a copla very early on in Iberia, in Evocation

(allowing for a syllable el ision):

62

Ex. 49. Evoca t i 6n -'--:--":

PPP.·, ".~ .. .. ,,111"1'. '---.--.

~"""f/lll:"'~I'I·P':'/I""I'.I. ~

..:11'-.:........ -- lJ ., t ~ PPP .1'.1:«1. 'fW.

.rr.:-,-: :> ~~ rr~ 1'1 " "* I ... I ~ :> :>

{ ---

oJ .... ---. '---' -.....;:::::..,-. -.........:::.,-. ~.

.J ppp

F5"L1 -....... ----=----.. ; l' I ~ . .i'l P'7' : ,

"- I .... :

-' - ~"'-'

~. 'ftb.

The copJas in the dances of Andalusia while retaining the

eight syllable I ine structure are in the style of cante

jondo and much rhythmically freer:

Ex. 50. Pedre I I . Canc i onera

(See Next Page)

Ex, 50, Pedrell, Cancianera

Ma'iaga

Malagueiia

~

J : • ~ .

Tran.crila del pu.olo por Pon Jose" ,If!' Souro.

E _ sos o_ios nOlan o_ios _______ _

Si no lazosqu. me tiendes _______ _

2 • b • ? I ,

Son ba.las conqueme ti .ras _______ _

;; • • Ji ;ii22:5 Ca. de • na. con que me prendes ___ _

; . y. . ""s 0 • jos no son a • jO" ____ _

. . • • ... 1\ ,Ay!

63

In order to capture this trait. Albeniz has used cross

rhythms in the capIas of Randeffa and Almeria, Note that the

accompaniments retain the basic rhythm of their respective

dance:

Ex, 51, Randeffa

(See Next Page)

Ex. 51. Rondeffa

/I 1':'"""1 --- , -

{ - - - - -

oJ ...... + +..1+ ... "7 .--' ""':$ -9-'- -' ~ -.......... III! 1II(}; ... hi,." 1l1U/"I"': in --:~'27Ty I r Tv' 1nJ'

r"'::"1~1.1.J!. ~ -pp --. .l1ITI

:

- - ., ::;..--- =-'2~ .- -?-~ :,I:"". ~, ____ ---"i ~~'------

,., ~ I - - .....-::-_ 2_ r: ~

{ -

oJ .... ...... T '-'-?;'2-= ~ - ~ -""iI:; ~ -"

-., 7}LJ 71 /I'''')'''''''' If

i-L I -p '--"" -- ~ -::. I P"""'1 - , . .L~~.L ~ ... Ih • .L.. 1. ~

- ., ;:/ :=J2~ :~ - --7- ,~ 1--______ 1

~,

/1--:::--"" - ''''J''pr,. '-;,zpr.·\ '!f 1 ..:l """"T- -- - - ")- -

{ !oJ -:"':'.;0.' -~f~':: ~~~~ ~ ~. •• • • • ~. ~:~. -,.~-ti-

~L.!,; r~ pp ~ -:-' ~m~, -'2~ I pp ~ .. ~~~ ~ ..... --:

- ~~"-- ~ .. ~ ~-'""-~. cfw-:-----

Ex. 52. Almeria

/I ~ lI.rp1'/luil fit Ai,.." ,·hal' t': - - - - :>

/ .. - . :,-

oJ IrlfJU~ ~

~= -- -II~ ,

t-~_

~: ""Tq:O'.~ ~77~ .... T7 ...... T""-+ ... ....

&J ~~ 'f~ _ - - pp~ -""I ....... .,.,::;;;.. ~/"""l""\ ~~

- _ ..........

-<T. pp -v. I~I 't!~--------f·

I\~ ." --- - _1-uhlll" - - -(

...:J:!" '" '" ~OU.l

fI'

I'" ---:z. :::£ ...... :r. T ... _T __

pp , T =r -r ".. T ~- -~ ~

\ :

~' -<!ro, --_____ --i

~~,

'J' = T~~$ Tq77""T~ ~ • - ,........;;;;..

-6-. ~, -~, --------1

64

65

It is appropriate to end this study with a discussion of the

cop/as found in Iberia as they provide some of the most

beautiful music in the suite, Gi I bert Chase wrote of the

cop/a:

"The cop/a (stanza) I ike all the verse of cante jondo, concentrates within a few lines a wealth of emot iona I exper ience, For forcefu I imagery and compact intensity, no popular verse form excels the Andalusian cop/a,"

66

8. Summary

In this study I have endeavored to show the extremely close

relationship between Albeniz' compositional style in Iberia

and Spanish folk music. The characteristics of Spanish and

in particular Andalusian folk music which are present in

Iberia may be considered in three main categories: ( 1) the

rhythms of Spanish dance and related performance activities

(especially flamenco), (2) the characteristics of Spanish

folk song, and (3) the guitar idiom.

It is my hope that the pianist who wishes to perform Iberia

wi II gain a greater insight into the interpretive

requirements of this masterpiece (as I have) by the

examination of this study. It is also hoped that the

interested musician will be led to a further exploration of

the richness of Spanish folk music. This, of course, will

allow an even fuller understanding and appreciation of

Iberia.

67

9. NOTES

Chapter 3

1 Salter, Lionel. Jacket notes. Iberia. By Isaac

Albeniz. Alicia de Larrocha, piano. London, 417887-

2 LH2. n.d. Compact disc recording.

Chapter 4

1 Chase 156.

2 Stevenson 798.

Mast 117.

Chase 158.

3

4

5

6

7

8

Revue Musicale, 1913.

Powell 80.

Quoted in Powell, p. 79.

Co 11 et, Henr i . Albeniz et Granados. Paris, 1926.

Revue Musicale, 1913. Quoted in Powell, p. 81.

Chapter 5

1 Mast 76.

2 Stevenson 798.

3

4

Mast 78.

Van Vechten, Carl. The Music of Spain.

Quoted in Mast, p. 112.

5 Van Vechten quoted in Mast, p. 80.

Chapter 6

1 Katz 627.

New York, 1918.

68

2 Starkie 114.

3 Meyer. Emotion and Meaning in Music. Quoted in Mast,

p. 80

4 Grunfeld, Frederic V. The Art and Times of the Gui tar.

London: Collier-Macmillan, Ltd., 1969. Quoted in

Mast, p. 208.

Chapter 7

1 stevenson 792.

2

3

4

Bergerac 162.

Falla, Manuel de. E1 Cante Jondo (Canto Primitivo

Anda1uz). Granada: Editorial Urania,-1922. The

article is summarized in Chase, p. 223.

Stevenson 798.

10. REFERENCES

Albeniz, Isaac. Iberia. Paris: Edition Mutuelle, 1906-

1907. New York: Dover, 1987.

Angel, Antonio Ramirez., ed. Mil Canciones Espagflolas.

Madrid: Editorial Almena, n.d.

Anthology of Spanish Folklore Music. Unesco.

Everest, 3286/4, n.d.

Aquila, Juan Del., ed. Las Canciones del Pueblo Espagflol.

Madrid: Union Musical Espagffola, 1960.

69

Bergerac, Leopold Cardena de. "The Andalusian Music Idiom."

Music Review 33 (1972): 157-166.

Brown, George Boy I ston. "A Survey of Iber ian Fo I k Song and

a Study of the Jota Aragonesa." Thesis. Eastman

School of Music, 1935.

Chase, Gilbert. The Music of Spain. New York:

Norton, 1941.

Flamenco, Guitar. Manitas de Plata. Connoisseur

Society, SRL 8643, 1965.

Katz, Israel J. "Flamenco"

Music and Musicians.

Macmillan, 1980.

The New Grove Dictionary of

Ed. Stanley Sadie. London:

Lacome, P. and J. Puig Y Alsubide, eds. Echos d' Espagne:

Chansons et Danses Populaires. Paris: Durand, n.d.

Mast, Paul Buck. Style and Structure in Iberia by Isaac

Albeniz. Diss. University of Rochester, Eastman

School of Music, 1974. Ann Arbor: UMI, 1974.

74-21,529.

70

The Music of Spain, Vol I: Andalusia. National Geographic,

704, 1973.

Ocan, Eduardo., ed. Cantos Espagffoles: Coleccion de Aires

Nacionales y Populares. Malaga: Cuarta, 1906.

Onis, Federico de, and Emilio de Torre, eds. Canciones

Espagffol. New York: Instituto de Las Espaffas en Los

Estados Unidos, 1931.

Pedrell, Fel ipe., ed. Cancionero Musical Popular Espaffol.

3rd ed. Barcelona: Casa Editorial Boileau, 1958.

Powell, Linton E. A History of Spanish Piano Music.

Bloomington: Indiana University Press, 1980.

Rossy, Hipolito. Teoria del Cante Janda. Barcelona:

Credsa, n.d.

Spanish Flamenco. Distributed by Madacy Inc., Quebec.

CLVC-CD90, n.d. Compact disc recording.

Starkie, Walter. Spain: A Musician's Journey through Time

and Space. Geneva: Edisli, 1958. With Accompanying

recording.

Stevenson, Robert. et al. "Spain". The New Grove

Dictionary of Music and Musicians. Ed. Stanley Sadie.

London: Macmillan, 1980.