Falla, Albeniz, Turina - Works for Piano & Orchestra - Larrocha, LPO, Fruhbeck (1984) [FLAC] (Decca 410 289-2)


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Falla, Albeniz, Turina - Works for Piano & Orchestra - Larrocha, LPO, Fruhbeck (1984) [FLAC] (Decca 410 289-2)
    Artwork
          Booklet 1.png -
16.98 MB

          Booklet 2.png -
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          Booklet 3.png -
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          Booklet 4.png -
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          Disc.png -
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          Tray.png -
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     00 - Pregap.flac -
8.84 KB

     01 - Manuel de Falla; Noches en los jardines de Espana - I. En el Generalife.flac -
35.8 MB

     02 - II. Danza lejana.flac -
19.87 MB

     03 - III. En los jardines de la Sierra de Cordoba.flac -
38.29 MB

     04 - Isaac Albeniz; Rapsodia espanola.flac -
70.02 MB

     05 - Joaquin Turina; Rapsodia sinfonica.flac -
35.57 MB

     Checksum file.md5 -
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     Cover.jpg -
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     EAC.log -
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     FLAC test.txt -
579 bytes

     Info.txt -
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     Noncompliant.cue -
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     Playlist.m3u -
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     Pregap.log.txt -
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     Range.cue -
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     Share!.txt -
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Description



Music : Classical : Lossless
FALLA
Nights in the Gardens of Spain
Albéniz • Turina




Gramophone [10/1984]:
Quote:Although the forward balance of the piano in the Falla is emphasized, overall the sound of this Decca CD is quite superb. The strings are sensuously lustrous in the Albéniz and Turina, and the latter wears its inherent vulgarity with irresistible panache when the colours are so vivid. The Falla work is wonderfully evocative, and the piano is so real in its projection that one almost feels able to reach out and touch it. Indeed, this is a demonstration CD of 'Spanishry' that ranks alongside its famous companion (also Decca) of Dutoit's El amor brujo and El sombrero de tres picos ballets (410 008-2DH, 8/83). Detail is remarkable but always presented within a believable ambience and the performances seem to gain extra life and spontaneity. --Ivan March

MANUEL DE FALLA (1876-1946)
Noches en los jardines de España
1. I. En el Generalife (10.19)
2. II. Danza lejana (5.17)
3. III. En los jardines de la Sierra de Córdoba (9.12)
ISAAC ALBÉNIZ (1860-1909)
4. Rapsodia española (17.53)
(Orchestration: Cristobal Halffter)
JOAQUÍN TURINA (1882-1949)
5. Rapsodia sinfónica (8.51)

Alicia de Larrocha, piano
London Philharmonic Orchestra
Rafael Frühbeck de Burgos, conductor


Digital recording
Recorded: Walthamstow Town Hall, London, 5, 7 & 8 July, 1983
Producer: Michael Haas
Sound Engineer: Stan Goodall
© 1984 The Decca Record Company Limited, London
Printed & made in West Germany
Decca 410 289-2

Quote:Towards the end of his life, though living in Paris, Isaac Albéniz had become the leading Spanish composer of his day. His final masterpiece, Iberia, was instantly recognized by the next generation of Spanish composers as showing them a way out of the impasse of naive pictorialism. After Manuel de Falla and Joaquín Turina had their celebrated encounter with Albéniz at a concert in October 1907, Turina wrote that "Music should be an art and not a diversion for the frivolity of women and the dissipation of men. We were three Spaniards gathered together in that corner of Paris, and it was our duty to fight bravely for the national music of our country."
Falla's Nights in the Gardens of Spain, originally intended for solo piano, was conceived in Paris before his return to Spain on the outbreak of war in 1914. The Catalan pianist Ricardo Viñes persuaded the composer that the work would be better cast in orchestral form. Despite the subtitle, Symphonic Impressions, there is nothing particularly symphonic about the writing, nor is it a concerto. Instead, this is one of the most overtly Impressionistic of Falla's scores. The shimmer of an Andalusian night is an almost tangible backdrop to each of the three movements. The ghost of Debussy is never far away, particularly in the featherlight scoring: the movement depicting the Generalife garden near the Alhambra in Granada frequently makes magical use of sul ponticello strings and distant horns. The Danza lejana (Distant dance) leads straight into the Sierra de Córdoba movement, in which vigorous sections suggestive of some gipsy fiesta alternate with a slow Andalusian tune whose final appearance is over a static, thrumming accompaniment in the strings. The effect is timeless and remote, an echo of that "andalucismo universalizado" to which all three composers aspired.
Unlike the other two, Albéniz was a Catalan. He was a child prodigy, whose pianistic gifts soon led him into a colourful life as a travelling virtuoso. A turning point in his career was his encounter in 1883 with Felipe Pedrell, the great teacher and musicologist, who believed profoundly in an art based on the living folklore of Spain. From then on, Albéniz' own compositions, which had been mostly in the conventional salon manner, began gradually to demonstrate deeper Spanish influences. The Rapsodia española, as with Falla's Nights, was originally written for solo piano, and first performed in 1887; it is a loosely-assembled sequence based on characteristic Spanish dances such as the jota, the petenera and the malagueña. It cries out for the orchestra, though Albéniz himself was unhappy writing for any instrument other than his own; the Rhapsody is heard here in a version by Cristobal Halffter that is lightly scored and so enables Albéniz' piano writing to stand unaltered.
With the same feelings about Spanish art as Falla and Albéniz, Turina sought also to combine something of the formal concerns of the Schola Cantorum composers, such as Franck and d'Indy. The Rapsodia sinfónica (1931) is again light-textured: the scoring is for piano and strings alone, with the piano occasionally used in an accompanying role, and a solo violin making brief appearances. The Rhapsody is in two parts, the first an andante with lush string contours, the second an allegro vivo full of repeated notes for the soloist (shades of Spanish guitar music), and making use of the rhythms of the rondeña, in which passages in three-four and six-eight alternate in excitingly quick succession. So the flavour is once again of the deep South, of the perfumes and places of Andalusia.
Piers Burton-Page
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