Albeniz and His Music

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Article published in Classical Guitar Magazine, v. 18, n. 18, London, 1997. Republished on

the Sirs Renaissance Database CD-ROM, Boca Raton, Florida, 1998.

ISAAC ALBNIZ AN ESSAY ON THE MAN, HIS MUSIC, AND HIS

RELATIONSHIP TO THE GUITAR

Daniel Wolff

Life

Isaac Albniz, one of the most important Spanish composers, regarded as the founder of the

Modern Spanish School, was born in Camprodon, Spain, in 1860, and died in Cambo-les-Bains,

France, in 1909. A precocious piano virtuoso, he had his first lessons with his elder sister

Clementine and appeared in public recitals playing duets with her as early as age four.

In 1866, after studies with Narciso Oliveros in Barcelona, his mother took him to Paris to

study with Antoine Francois Marmontel, a teacher at the Paris Conservatoire who also counted

Bizet and Debussy among his students. After a few months under his private guidance Albniz

was accepted as a student at the Conservatoire, but he spoiled the opportunity by breaking one

of its large mirrors while playing with a ball (we must not forget that he was only a six year old

child). His mother then took him back to Spain and shortly after he went on a concert tour

around Catalonia with his father, in which he would use the same kind of tricks as the young

Mozart, such as covering the keyboard so that he had to play without looking at the keys.

The Albniz family then moved to Madrid, and Isaac started attending the conservatory

under Mendizabal. By this time he was a prolific reader of Jules Verne's tales, and through them

felt the enticements of adventure up to the point when, in 1870, he ran away from home to travel

around Spain on his own, playing wherever he could. He went through all sorts of incidents

over this time, being once even robbed by highway bandits. Upon reaching Cadiz, the local

governor threatened to arrest Albniz and have him sent back to his parents. Albnizs solution

was to hide himself on the steamship Espaa, bound for Puerto Rico. He expected to entertain

the passengers by playing the piano in exchange for his ticket, but was forced to land in Buenos

Ayres, the first port on call.

In Argentina Albniz experienced hunger for the first time, and had to spend a while

sleeping on the streets. But shortly after he was playing at cafes and cabarets, being able to save


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enough money to start traveling north to Central America. By the time he was thirteen he

reached Cuba where, by coincidence, his father had just been transferred as collector of taxes.

The elder Albniz's first reaction after knowing that his son was to arrive in Cuba for a series

of performances was to force him to settle down and put an end to his nomadic life. But when

he met Albniz and saw that he was now a mature and experienced man, although still in his

teens, he decided to let him follow his own way, which was now to go to the United States.

America did not welcome Albniz as well as he expected, and in 1874 he returned to

Europe, this time willing to seriously develop his skills as a musician. He attended the Leipzig

Conservatory under Jadassohn and Reinecke, and later studied with Louis Brassin (piano) and

Auguste Gevaert (composition) at the Brussels Conservatory. In 1880 Albniz met Franz Liszt

and became his student, having traveled with him from Weimar to Rome. The same year he

started touring Europe and South America as a mature virtuoso.

The year 1883 marked the end of Albniz's Bohemian life style. He married Rosina Jordana

and settled in Barcelona, dedicating himself entirely to his family and his music. Little by little

he gave up his concert career, concentrating on teaching and composing. At about the same

time Albniz met the Spanish musicologist Felipe Pedrell, who made a strong impact on his

compositional style by directing him towards the creation of music based on Spanish roots.

By the end of the decade Albniz decided to leave Spain and, after spending some time in

Paris studying with Dukas and D'Indy, settled in London in 1890, where he agreed to set to

music the libretti of British banker Francis Money-Counts in exchange of financial support.

This gave light to operatic works such as Pepita Jimenez,Merlin andHenry Clifford. Returning

to Paris in 1893 Albniz established a close relationship with the French impressionist

composers, being in 1896 appointed assistant piano teacher at the Schola Cantorum.

In 1898 Albniz left Paris and lived in Barcelona and later in Nice, finally settling in Cambo-

les-Bains, where he died two months later. After his death he was awarded the Grand Cross of

the Legion d'Honneur by the French Government.

Musical Style


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Albniz's style, although basically Spanish oriented, is still considerably eclectic and

embodied with a popular flavor. This is doubtlessly connected to his early experience playing

at cabarets, as well as to the extensive traveling in which he was involved during his youth,

when he had the chance to listen to music from several countries and diverse cultural

backgrounds. Even though such influences, along with others that appeared latter on his life,

are clearly present in his music, Albniz was able to create his own personal style and his

relationship with Liszt might also have contributed to this process. As pointed out by

Livermore: "The Hungarian, though moving in the Germanic circles of Schumann and Wagner,

had managed to create his own climate by the side of theirs, and this Albniz needed to do in

Paris, where his own unique musical experience required a similar independence of expression

if its opening success was to mature unspoilt."[1]

In order to acquire such an independence of expression Albniz turned to the musical

sources of his native Spain, being first attracted by the Spanish anonymous songs. Those were

collected by church organists in times gone, and organized in cancionerosby Felipe Pedrell

during the second half of the nineteenth century. The teachings of Pedrell influenced other

major Spanish composers such as Falla and Granados, and they all used specimens of Spanish

anonymous songs in re-creating the native idiom through their own compositions.

It must be observed that the late nineteenth century saw the growth of Nationalism,

especially in countries like Spain, whose musical tradition was overshadowed by a powerful

Germanic preponderance. Nationalism sought vivid emotional expression, achieved by the

introduction into music of a greater variety of rhythmic, melodic and harmonic phraseology,

mostly derived from folk music. Albniz was the first exponent of Nationalism in Spanish

music, being therefore regarded as the founder of the Modern Spanish School, as stressed by

Baker: "Almost all of the works of Albniz are written for piano, and all without exception are

inspired by Spanish folklore. He thus established the modern school of Spanish piano literature,

derived from original rhythms and melodic patterns, rather than imitating the imitations of

national Spanish music by French and Russian composers."[2]A link may therefore be

established from Albniz all the way back to Scarlatti, whose hundreds of keyboard sonatas

were permeated by Spanish musical elements. But Albniz was also interested in
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"accomplishing a spiritual transfiguration of the [Spain's] landscape, to transform it into creative

abstract material,"[3]and so he adopted pictorial programs for his piano suites, much on the same

way as Mendelssohn on his Scottish and Italian Symphonies.

However, it should be noticed that the Spanish musical idiom, which served as a source for

most Spanish composers, is itself a convergence of diverse influences easily observed on three

major events in Spain's history, namely the adoption by the Spanish church of Byzantine

liturgical music, the Muslim invasion (responsible for the inclusion of Moorish elements on all

levels of music making) and the immigration of numerous bands of Gypsies, the later

acknowledged as the major step towards the creation of a style nowadays regarded as the core

of Spanish music: theflamenco.

Comprised basically of dance movements such as thepolo, thefandangoand

the seguidillas, on which Albniz based most of his piano pieces, theflamencois the modern

successor of the cante jondo, through which it may be better understood. The cante jondo, a

misspelling for canto hondo (in Spanish: deep chant), refers to a group of Andalucian folk-

songs of Gypsy origin, characterized by two major aspects: "the compass which rarely surpasses

a sixth; and the often obsessive repetition of the same note, frequently embellished by an

appogiatura from above or below."[4]Inflamenco dance movements thecante jondosection

functions as a cadenza, primarily due to its monodic and ametrical character. Albniz used this

feature inEl Albaicn, from the Suite Ibria, and inAsturias (from the Suite Espaola)

expanded it to the whole first part of the slow section (see example 1).

Example 1: Albniz, Asturias
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Example 1.b demonstrates also the presence of Arabic turns of phrase, a Moorish legacy

connected with "an important Spanish artistic movement at the end of the nineteenth century

and beginning of the twentieth known as alhambrismo, referring to the palace of Alhambra in

Granada."[5]Moorish melodic elements were frequently found in Albnizs music, who used to

proudly state: "I am a Moor!"

In regard to the instrumental accompaniment, inflamencomusic it is usually provided by

the guitar, and one of its distinctive features, which Albniz employed frequently in his music,

is the use of minor second grids to accomplish rhythmic accents. Although the inclusion of such

dissonant intervals over triadic chords led to the improvement of Albniz's tonal gamut, it is

however not sufficient to completely understand his harmonic idiom. A frequent resource found

in his pieces in the major mode is to modulate to triads of the parallel minor scale, as in Sevilla,

from the Suite Espaola. Here, after an opening in G major, the theme reappears in E flat major

and the entire slow section is in C minor. It is interesting to observe that the tonic notes of these

three keys put together form a C minor chord, which is the key of the slow section, a common

device in the nineteenth century's quest for a higher level of tonal relationships.

Further harmonic achievements are found in Albniz's late works, especially after his

studies in Paris. Typical impressionistic harmonic devices such as the use of modal harmonies

and the whole-tone scale, as well as uncertain tonal centers, are frequently found in his Suite

Ibria, which he referred to as a set of "twelve impressions". It should be mentioned that several

scholars are of the opinion that Albniz was not really influenced by the impressionist

composers, but rather helped to create the so called "impressionist style", as put by Marco:

"Although the language ofIbriais directly related to the music of Claude Debussy and

Maurice Ravel, it cannot be considered simply as a consequence of the French school. Its genius

lies in its extraordinary technical complexity; years later Olivier Messiaen declared that it was

his immediate antecedent."[6]

In terms of form Albniz wrote mostly short pieces, the so called character pieces of the

Romantic period. Most of them were based onflamenco dance movements over which he

superimposed traditional formal structures such as ABA. It is interesting to observe that the B

section, which traditionally serves as a relief to the rather busy texture of the A section, often
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assumes the form of a cante jondo, which inflamencomusic also works as textural and

rhythmic break. But Albniz was also aware of the needs for achieving a greater formal

structure, something he accomplished by placing his pieces together in the form of suites, such

as the Suite Ibria, the Suite Espaolaand Cantos de Espaa.

Little has to be said about Albniz's orchestration since, like Chopin, almost all his pieces

are written for solo piano. He did orchestrate Cataloniawith help from Dukas but most of his

orchestral scores, almost all of which are to be found in his operas, show a distinctive pianistic

approach. Writing about the opera Pepita Jimenez, Chase states that "the score reveals that

Albniz thought primarily in terms of the piano rather than the orchestra, a medium he never

thoroughly mastered" (italics mine).[7]The famous orchestral version of certain movements of

the Suite Ibriawas done not by Albniz but by his countryman Fernando Arbs, and part of

the suite was also later orchestrated by Leopold Stokowski.

Finally, it should be mentioned that Albniz's style changed considerably over the years.

His early pieces carried no marked Spanish character, being rather miniatures written in the

facile salonstyle (waltzes, mazurkas, barcaroles, etc.) so common in the late nineteenth

century. French influences can be seen only in 1889, starting withLa Vega, but the major step

towards maturity can be traced back to 1883, the year he met Pedrell. "What Albniz derived

from Pedrell was above all a spiritual orientation, the realization of the wonderful values

inherent in Spanish music."[8]

Albniz and the Guitar

"Throughout the veins of Spanish music, a profound rhythmic beat seems to

be diffused by a strange, phantasmagoric, colossal and multiform instrument -

an instrument idealized in the fiery imaginations of Albniz, Granados, Falla

and Turina. It is an imaginary instrument which might be said to possess the

wings of the harp, the heart of the grand piano and the soul of the guitar"

(italics mine).[9]

This statement by Joaqun Rodrigo demonstrates the high place the guitar holds in Spanish

music, even if only on an unconscious level. That is to say, when trying to capture the Spanish

musical idiom, Spanish composers pay tribute to the guitar's characteristic sonorities even
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though they are writing for another instrument. Such is the case with Albniz, as observed by

Chase: "Taking the guitar as his instrumental model, and drawing his inspiration largely from

the peculiar traits of Andalusian folk music - but without using actual folk themes - Albniz

achieves a stylization of Spanish traditional idioms that, while thoroughly artistic, gives a

captivating impression of spontaneous improvisation."[10]

The story tells that Francisco Trrega, regarded as the founder of the modern guitar school,

performed his guitar transcriptions of Albniz's pieces for the composer, who on the occasion

manifested his preference for the guitar version rather than the original piano score. Following

Trrega several guitar virtuosos, among them Andrs Segvia and Miguel Llobet, proceeded to

transcribe Albniz's pieces for the guitar, the resulting output being nowadays a highlight in the

instrument's mainstream repertoire. Thus Segvia wrote in 1947: What artist or what critic, no

matter how severe he may be, can condemn the transcriptions of the works by Albniz for the

guitar? They are true restitution to the instrument which furnished the original inspiration. [11]

In order to better understand the guitaristic aspect of Albniz's music, we may refer to a

comparison with Domenico Scarlatti, whose sonatas are also often performed on the guitar. It

has already been mentioned the existence of a link between Albniz and Scarlatti, who he took

as his keyboard master in line, but how deep does this connection run? First of all they both

wrote mostly for solo keyboard and had a large output of miniature pieces. But what is most

important is that the two of them made frequent use of Spanish folk music elements in their

works. The minor second grids that Albniz used to provide rhythmic accents were not

unknown to Scarlatti, as can be seen in example 2. Here, the effect of the tone clusters resembles

that of the rasgueados(a guitaristic effect, originally fromflamencomusic, consisting of the

strong strumming of chords in a way to produce rhythmic accents, working almost as a

percussive effect), demonstrating that even when writing for the keyboard, Scarlatti had the

guitar in mind.

Example 2:Scarlatti, Sonata K175/L429, mm.25-28
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But unlike Scarlatti who, being primarily Italian, used elements from Spanish folk music

only occasionally to enlarge his sources of inspiration, Albniz turned to it completely in order

to develop his own personal style. This makes transcriptions of his piano music for guitar not

only possible but desirable, since the instrument is not only the one most used

inflamencomusic, but is actually highly associated with Spanish music as a whole. This

becomes quite clear by comparing certain passages of Albniz's works transcribed for the guitar

with the original piano version.

The above mentioned rasgueados, for example, are often used in continuous motion in

order to produce a full chord tremolo effect. Being impossible to reproduce it at the piano,

Albniz opted inCordoba, from Cantos de Espaa, to replace it by a left-hand octave tremolo

on the bass, the remaining chord tones being played by the right-hand in quarter-notes (see

example 3).

Example 3:Albniz, Cordoba, mm.136-37


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Asturias, from the Suite Espaola, serves as a good example of the campanellaeffect,

which is obtained by a repeated pedal note on an open string while a melody is played on one

or more of the remaining strings. In this particular case the melody is played on the forth and

fifth strings against a pedal note B played on the second open string (a transposition from the

original key G minor to E minor is required). The result is a clear separation between the moving

melody and the pedal note which the piano can not completely achieve, especially when the

pedal and the melody note are the same, as in the first and third beats of the first measure in

example 4. The circles indicate the pedal notes played on the open second string.

Example 4: Albniz, Asturias, m.1

As for typical guitaristic accompaniment figures Albniz music is so full of them that an

example may not be necessary here. I shall only mention the Suite Ibria, which is permeated

throughout its twelve movements notably inEl Albaicn, Triana andEl Puerto by such

figures.

But there are also several pieces by Albniz that cannot be played on the guitar, since the

instrument is not capable of handling as many notes as the piano due to limited register and

mechanical possibilities. In some cases a transcription for two guitars will be preferred, but in

others no trancription will not be possible at all. Nevertheless, the fact that a certain piece is not

playable on the guitar does not exclude the possibility that it was the instrument Albniz had in

mind while composing. He was after all writing for the piano and therefore had to suit his music


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to that instrument's technical characteristics, even if from the bottom of his heart, the guitar was

his true source of inspiration.

BIBLIOGRAPHY

Arnold, Denis, ed. The New Oxford Companion to Music. S.v. "Albniz, Isaac." East Kilbride:

Thomson Litho Ltd.,1984.

______________. The New Oxford Companion to Music. S.v. "Nationalism in Music." East

Kilbride: Thomson Litho Ltd.,1984.

Baker, Theodore.Baker's Biographical Dictionary of Musicians. 7th ed. by Nicholas

Slominsky. S.v. "Albniz, Isaac." New York: Schirmer,1984.

Cavaterra, Jeremy. "The Underrated Masters: Spanish and Latin American Composers, Vol. I

- Isaac Albniz."MSM Notes(September 1994): 6-7.

______________. "The Underrated Masters: Spanish and Latin American Composers, Vol. II

- Manuel de Falla."MSM Notes (October 1994): 4-5.

Chase, Gilbert. The Music of Spain. New York: Norton,1941.

Jacket notes. Concierto de Aranjuez. Renata Tarrago, guitar. Orquesta de Conciertos de

Madrid. Odon Alonso, conductor. Columbia ML5345, s.d.

Livermore, Ann.A Short History of Spanish Music. New York: Vienna House,1972.

Marco, Tomas. Spanish Music in the Twentieth Century. Trans. Cola Franzen.

Cambridge,MA: Harvard University Press,1893.

______________. "Albniz, Isaac."The New Grove Dictionary of Music and Musicians. Ed.

Stanley Sadie. 20 vols. London: Macmillan,1980. I:202-03.

Segvia, Andrs. A Note on Transcriptions.Guitar Review1, no. 3 (1947): 3.

Thompson, Oscar, ed. The International Cyclopedia of Music and Musicians. S.v. "Albniz,Isaac." New York: Dod, Mead and Company,1985.

2001 Copyright by Daniel Wolff. All rights reserved.

[1]Ann Livermore,A Short History of Spanisch Music(New York: Vienna House,1972), 180.[2]Theodore Baker,Baker's Biographical Dictionary of Musicians, 7th ed. by Nicolas Slonimsky, s.v.

"Albniz, Isaac" (New York: Schirmer,1984).

[3]Tomas Marco, Spanish Music in the Twentieth Century, trans. Cola Franzen (Cambridge,MA:Harvard University Press,1993), 8.
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[4]Jeremy Cavaterra, "The Underrated Masters: Spanish and Latin American Composers, Vol. II-Manuel de Falla,"MSM Notes(October 1994):4.

[5]Marco, Spanish Music, 46.[6]Ibid., 6.[7]Gilbert Chase, The Music of Spain(New York: Norton,1941), 154.[8]Ibid., 153.[9]

Jacket notes to Concierto de Aranjuez, Renata Tarrago, guitar, Orquesta de Conciertos de Madrid,Odon Alonso, conductor, Columbia ML5345, s.d.

[10]Chase, The Music of Spain, 155.[11]Andrs Segvia, A Note on Transcriptions,Guitar Review1, no. 3 (1947): 3.
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