37, nº 5: Andaluza (Playera) (for violin and piano, Kreisler) , Andaluza (Danzas Españolas, op. 37 no. 5) (arr. Kreisler) · Arthur.
Table of contents
- Andaluza (Playera), for guitar or other instrument (arrangement of No.5 of 12 Spanish Dances)
- Background
- Granados - Andaluza: No 5 from Spanish Dances
- 12 Danzas espanolas (Spanish Dances), Op. 37: No. 5. Andaluza (Playera) (arr. A. Munzer)
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Andaluza (Playera), for guitar or other instrument (arrangement of No.5 of 12 Spanish Dances)
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- Recordings.
- Computational Probability (International Series in Operations Research & Management Science).
- Granados - Andaluza: No 5 from Spanish Dances.
- Free sheet music : Granados, Enrique - No.5 - Andaluza from "Spanish Dances" (Piano solo).
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Background
In A Classical Mood. Julian Bream Edition, Volume 1: Music For Spanish Guitar. The Early Victor Recordings, Volume 1. The Magic of the Violin. The set of twelve Spanish Dances, for piano, was written in A composer of Catalan origins, his style is very much that of Spanish nationalism, with the influence of the guitar often evident. Granados himself may be heard playing here on an old piano roll recording dated around Students with a fiery temperament and a sense of passion should do well if choosing this piece. It needs a certain musical maturity to bring it off.
Granados - Andaluza: No 5 from Spanish Dances
There is considerable repetition here and a feeling for the spontaneity of mood is needed so that the character does not become predictable and boring. The Spanish style is full of colour, daring and panache, even in the more gentle tempi. There should be rhythmic vitality, suppleness of phrasing and tonal variety and beauty. Strength and tenderness mixed in almost equal proportions go towards creating the allure of the style. Think twice if you consider your student may simply not be suited to playing in this style. A keen sense of the Spanish character and style may be found when listening to Granados payed on Spanish guitar, as in this beautifully expressive performance by Stefano Grondona: There are two principal elements to the articulation here: This should have warmth and life to it.
12 Danzas espanolas (Spanish Dances), Op. 37: No. 5. Andaluza (Playera) (arr. A. Munzer)
There is no room here for timid tone or lacklustre mood. The tone must always have depth and meaning. The range of dynamics goes from the glowing embers of a pp at the very end to the passionate ff marcando on the prolonged dominant chord e. There are three main aspects of technique needed here: The use of pedal here is crucial to the amount of colour and end result. It is not simply a question of how much, but essentially a matter of choices and skill.
For students who are not particularly adept at their pedal technique it is best to work on clear pedalling first and focus at the same time on the balance between parts within that simple but correct pedalling. For those with the skill, start listening in detail and work out what sounds good and why. There are a lot of skills at work here.