I.Albeniz - Asturias (Leyenda) - On Double Bass

#IsaacAlbeniz#Austurias#TESEO#DoubleBass Asturias was born in the early 1890s, at the time of Albéniz's stay in London. In spite of the name, there is no connection with the musical tradition of Asturias: in addition to rather recalling the Andalusian flamenco, initially the piece is not published at all under this title. In publishing it by Pujol in Barcelona in 1892, Albéniz conceived it as a prelude to the Cantos de España collection. Only later did it become the fifth movement of the Suite española, published after the death of Albéniz with the current title and the subtitle Leyenda (1911). Based on the pianistic virtuosity of Albéniz (of Lisztian derivation) and the forms of the Spanish national school, Asturias begins with an Allegro but not too evocative of the flamenco style and built on the repetition of the main theme: a staccato succession of sixteenth notes in which the singing is entrusted to the left hand, while the right hand alternates a pedal of D (then also of E flat). From the initial pianissimo, the piece develops obsessively in a long and pressing crescendo, while the pedal gradually adds the repetition of the note at the high octave and the accented sixteenth notes in the downbeat give way to violent more acute chords. Reached the apex, the theme dissolves into a diminuendo little by little until the large final arpeggio in D major. The second movement is a copla with a character now calm (singing broadly but sweet) now dancing which at the end presents two references: first to the initial trend of the piece, then to the incipit of time II. They are a prelude to the abrupt resumption, immediately after, of time I, which is repeated identically until the end. This time there is a short coda, slow and sweet, which does not, however, renounce a fleeting, subdued hint of reprise of the theme before dulling itself off in the two serious concluding tonics. Characteristic and suggestive piece, Asturias is one of the most popular compositions of the Catalan master. Part of its international success is due to the transcriptions for guitar it lends itself to, and therefore to the performances that the great interpreters of this instrument have offered, among which the name of Andrés Segovia stands out, and to the orchestration that Rafael Frühbeck has given it. de Burgos. There is no lack of quotations, in particular of the main theme, which transcend the boundaries of musical genres. We remember the one rendered by the guitar with minimal variations in the opening words of Spanish Caravan by the Doors. Abbonati a questo canale per accedere ai vantaggi:    / @teseoguitar