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,...(+)
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 Fandango in D Major (No. 3) for
Brass Quartet (Bb Trumpet, Flugelhorn, French Horn &
Tuba).
PARTITION