Perhaps best known for his piano suite Goyescas, Enrique Granados (1867-1916) was a pianist, composer, and music educator with a style firmly rooted in Spanish nationalism. Granados was born in Lèrida, Spain, studied piano and composition in Barcelona with Felipe Pedrell, and moved to Paris in 1887 to study piano with Charles de Bériot. Two years later, Granados returned to Barcelona, where he began a prolific career as a concert pianist, composer, and music educator. In 1901, Granados founded his own piano school, the Academia Granados, based on his teaching philosophy. Several prominent pianists attended the Academia Granados, most notably the Spanish pianist Alicia de Larrocha. As a composer, Granados wrote primarily for the piano, although he also composed songs, chamber music, and operas. His compositional style was heavily influenced by the music and culture of his native Spain. In 1914, Granados performed his piano suite Goyescas in Paris to great acclaim, which led to the Paris Opéra requesting that Granados compose an opera based on the composition. Granados accepted the request and collaborated with Fernando Periquet, who wrote the libretto. However, the events of World War I prevented the Paris Opéra from premiering this work. In 1916, the Metropolitan Opera premiered the opera, and Granados traveled to New York to assist with its production. The opera was met with an enthusiastic reception and much critical acclaim, although it never became an enduring part of the opera repertory. During his travels back to Europe, the ship he boarded was torpedoed by a German U-boat in the English Channel, resulting in the death of both Granados and his wife.
Valses Poéticos was originally written for piano, most likely between 1886-1894 (the exact date is not known). The work consists of eight short movements, including an Introduction and a Coda. Valses 1-4 were published in 1894 by Lustración Musical Hispano-Americana, and the remaining Valses were published by Casa Dostesio in 1900. All of the movements are in two-part form or three-part form. The Introduction is in 2/4 time and is played at a fast and lively tempo (Vivace molto), featuring a predominantly sixteenth note texture interspersed with staccato eighth notes that act primarily as transitions between the sections. As it’s tempo indication (Melodioso) suggests, Valse No. 1 features a beautifully lyrical melody in A Major, which is accompanied by a repeating pattern of arpeggiated chords. In the second section of the piece, the key changes to the parallel minor and the melody moves to the bass line before returning to the upper voice (and the original key) for a final statement of the main melody. Valse No. 2 (Tempo de Valse noble) is in F Major and has a noble yet expressive character. Valse No. 3 (Tempo de Valse lente) is in D minor, has a slow and memorable melody in the A section, which followed by a rhythmically contrasting B section in the parallel Major. Valse No. 4 (Allegro umoristico) is in Bb Major and, true to its tempo indication, is a bright, lively and somewhat humorous piece. Valse No. 5 (Allegretto (elegante) is in the same key as Valse No. 4. However, it is played at a moderate tempo that wonderfully showcases its gorgeous melody. Like Valses No. 1 and No. 3, it also modulates to a parallel key, though this time it changes key to the parallel minor in the B section. Valse No. 6 (Quasi ad libitum (sentimental) is a reflective and calm piece in F# minor. Valse No. 7 (Vivo) in A Major is a prodigious feat of technical capability, and Valse No. 8 (Coda: Presto) is in A Major and begins with rapid flights of melody and chromaticism before transforming into an exact repeat of Valse No. 1. Recurring elements in this work include a keen melodic sensibility, the use of two and three-part song form, and the utilization of parallel major and minor keys.
Classical Guitar Analysis 