This is a performance that pairs the Goyescas with two earlier pieces, one a complete piece for piano, and the other a dance excerpted from his first major work.
It seems de Alicia de Larrocha is the Granados interpreter, as Granados’ catalogue is just full of her solo piano performances.
Allegro de Concierto, Op. 46 (1904)
The Allegro is pleasant but I wouldn’t pay much attention to it off by itself if it weren’t included with the rest of the program. High Romantic stuff.
Danza lenta Op. 37 (1915)
The dance feels like it was included to pad out the program, as it’s just thrown in – and it’s so short it’s kind of hard to know why they felt it necessary. It’s excerpted from a collection of two dances, the other which is likely just as brief.
Goyescas: Los majos enamorados Op 11 (1911)
- “Los requiebros” (“The Compliments”)
- “Coloquio en la reja” (“Conversation at the Window”)
- “El fandango de candil” (“Fandango by Candlelight”)
- “Quejas, o La Maja y el ruiseñor” (“Complaint, or the Girl and the Nightingale”)
- “El Amor y la muerte” (Balada) (“Ballad of Love and Death”)
- “Epilogo: Serenata del espectro” (“Epilogue: Serenade to a Spectre”)
- “El pelele: Escena Goyesca” (“The Puppet: Goya Scene”)
The star is obviously the suite. Sort of in the same spirit as Mussorgsky’s Pieces at an Exhibition, in terms of musical pieces inspired by multiple paintings.
It’s late Romantic at a time when Romantic could have definitely been deemed passe, but it’s full of energy and sounds like it’s just hell to play (which has always appealed to me). In fact, it’s one of those rare pieces that sounds complicated but not showy at the same time, if you know what I mean.
I know one of the melodies from somewhere, but I have no idea where.
It’s a great set.