Enrique Granados Campiña (1867 – 1916) was born in Lleida, Spain, the son of Calixto Granados, a Spanish army captain, and Enriqueta Campiña. As a young man he studied piano in Barcelona, where his teachers included Francisco Jurnet and Joan Baptista Pujol. In 1887 he went to Paris to study. He was unable to become a student at the Paris Conservatoire, but he was able to take private lessons with a conservatoire professor, Charles-Wilfrid de Bériot, whose mother, the soprano Maria Malibran, was of Spanish ancestry. Bériot insisted on extreme refinement in tone production, which strongly influenced Granados’s own teaching of pedal technique. He also fostered Granados's abilities in improvisation.[2] Just as important were his studies with Felip Pedrell. He returned to Barcelona in 1889. His first successes were at the end of the 1890s, with the opera María del Carmen, which attracted the attention of King Alfonso XIII.

Granados wrote piano music, chamber music (a piano quintet, a piano trio, music for violin and piano), songs, zarzuelas, and an orchestral tone poem based on Dante's Divine Comedy. Many of his piano compositions have been transcribed for the classical guitar: examples include Dedicatoria, Danza No. 5, Goyescas.

His music can be divided into basically three styles or periods: (1) A romantic style including such pieces as Escenas Románticas and Escenas Poeticas. (2) A more typically nationalist, Spanish style including such pieces as Danzas Españolas (Spanish Dances), 6 Piezas sobre cantos populares españoles (Six Pieces based on popular Spanish songs). (3) The Goya (Goyesca) period, which includes the piano suite Goyescas, the opera Goyescas, various Tonadillas for voice and piano, and other works.

Granados was an important influence on at least two other important Spanish composers and musicians, Manuel de Falla and Pablo Casals. He was also the teacher of composer Rosa García Ascot.

Source: Wikipedia (https://en.wikipedia.org/wiki/Enrique_Granados )

Although originally written for Piano, I created this interpretation of the Oriental Dance in C Minor (No. 2) for Flute Trio (2 Flutes & Alto Flute).