Cartas de Amor

Enrique Granados 1. Valses Poéticos: Introduction Vivace molt0 Vals 1 – Melódico Vals 2 – Tempo di vals noble Vals 3 – Tempo di vals lento Vals 4 – Allegro humorístico Vals 5 – Allegretto (Elegante) Vals 6 – (Sentimental) Vals 7 – Vivo Epilog – Presto Vals 1 – Melódico Fernando Sor 2. Souvenir de Russie Op. 63 Introduction Theme Variations 1 – 9 Coda Finale Allegretto Andreas Oberleitner 3. Steyer’sche Ländler, Op. 21 1 – Langsam 2 – 5 7 – Langsam – Geschwind 11- Langsam – Geschwind 12 – Langsam Richard Wagner 4. Entry of the Guests (from Tannhäuser) – Grand March Felix Horetzky 5. Polonaise Nationale, Op. 1 Torsten Ratzkowski & Jan Thomsen 6. Toast, butter and jam Cartas De Amor By Torsten Ratzkowski/Jan Thomsen © Enrique Granados (1867-1916) Valses Poeticos Edition: Ratzkowski/Thomsen Edition Das Duo, Noetzel Edition/Wilhelmshafen, Germany Emique Granados studied the piano with F. Jurnet and J. B. Pujol in Barcelona. From 1887 he concentrated on studying composition, attending the classes of Felipe Pedrell. In 1887 he went to Paris where he took private lessons from Charles de Beriot. The dream of Pedrell had always been to create a Spanish style of music based on the traditional music, but in this respect he failed. Enrique Granados, however, achieved this goal. Valses Poéticos, composed for solo piano, were originally part of a lager collection of waltzes with the title: “Cartas de amor” – love letters. They were composed in 1887. Later on Granados took seven of these waltzes, added an introduction and a finale and gave the work a new title. Fernando Sor (1778-1839) Souvenir de Russie, Op. 63 Facsimile edition. Editor: Brian Jeffery Fernando Sor reckoned as one of the most important composers of guitar music in the first part of the 19th century. Being a cosmopolitan he travelled from one important musical center in Europe to another. During his lifetime Sor wrote ballet music with considerable success. In the period 1828-1839 a series of Sor’s guitar duets saw the light and these are considered among the most outstanding of guitar duets composed in the 19th century. His very consequent and skilled way of handling the composition technique made it possible for Sor to create a wide-ranged harmonious and polyfonic sound, completely new to this genre. Souvenir de Russie is Sor’s last work. He dedicated the work to his good friend and student Napoleon Coste (1806-1883). The title refers to Sor’s yers in Russia from 1823-1826. His lifes companion at the time, Félicité Hullin, got an invitation to become the prima ballerina at the ballet of Moscow. He followed her with his daughter and another dancer, Joseph Richard. The two dancers were reckoned as very special stars and they often fascinated their audience, for instance at the opening of the Bolshoi Petrovski Theater on January 6, 1825 where they danced to Sor’s music composed for the ballet: Cendrillon. According to the American musicologist Matanya Ophee, the main theme in Souvenir de Russie originates from the Russian folk song: “Chem Tebia Ia Ogorchila” (What have I done to upset you? ) – (said by a woman). Ivan Prach, a Czech living in Russia, was the first to edit it in 1806. The Allegetto theme originates – again according to Matanya Ophee from the Russian folk song: “Ia Po Tsvetikam Khodila” (I walked mong flowers.) (said by a woman). RELEASE DATE: August 1995 CATALOGUE NUMBER: DACOCD 433 EAN: 5709499433003 Download BOOKLET (PDF) Related