【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き Albéniz Suite Española No.1 Op.47 Albeniz Suite Espanola Spanish 47-1 Granada (Serenade) 格拉納達 小夜曲 グラナダ セレナータ 阿爾班尼士 西班牙 組曲 第1號 作品47 阿尔班尼士 西班牙 组曲 第1号 作品47 Isaac Albéniz Suite española Op. 47 アルベニス スペイン組曲 作品47第3番 アストゥリアス 伝説 Guitar 吉他 ギター Guitarra Classical music Música clásica クラッシック 古典音樂 古典音乐 #Albeniz #Spanish #Española #Espagnola Isaac Albéniz’s Suite española, Op. 47, is a suite for solo piano. It is mainly composed of works written in 1886 which were grouped together in 1887, in honour of the Queen of Spain. Like many of Albeniz’s works for the piano, these pieces depict different regions and musical styles in Spain. In the works constituting the Suite española, the first title makes reference to the region that each piece represents and the subtitle in brackets indicates the musical form of the dance of the region. Suite española has 8 pieces. 47-1 Granada (Serenade) 格拉納達 小夜曲 グラナダ セレナータ 47-2 Cataluña (Courante) 卡塔魯納 庫拉達舞曲 カタルーニャ（コランダ） 47-3 Sevilla (Sevillanas) 塞維亞 塞維亞納舞曲 セビーリャ（セビリャナス） 47-4 Cádiz (Canción) 卡迪斯 薩埃達舞曲 カディス（カンション） 47-5 Asturias (Leyenda) 阿斯圖拉斯 傳說 アストゥリアス（伝説） 47-6 Aragón (Fantasía) 阿拉貢 幻想曲 アラゴン（ファンタジア） 47-7 Castilla (Seguidilla) 卡斯特拉 塞吉迪里亞舞曲 カスティーリャ（セギディーリャ） 47-8 Cuba (Nocturno) 古巴 夜曲 キューバ（カプリッチョ） Guitar versions It is not possible to transcribe the piece note for note for guitar. The original version makes uses of the piano keyboard's wider range compared to the tessitura of the guitar, and the key is not suitable for the guitar. Many have attributed the first transcription for guitar to Francisco Tárrega who put it in its most recognizable key, E minor. According to the guitarist and guitar scholar Stanley Yates, the first guitar transcription of the piece was probably by Severino García Fortea, although Andrés Segovia's transcription is the most famous and most influential. The piece has become one of the most important works of the classical guitar repertoire. Robbie Krieger, guitarist of The Doors, uses a reworking of the melody from this classical piece in The Doors song "Spanish Caravan" from their 1968 album Waiting for the Sun. ... https://www.youtube.com/watch?v=r6UhPY-4nxw

【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き Liszt Bach Preludes & Fugues S.462 No.2 462-2 BWV 545 李斯特 巴哈 前奏曲與賦格 作品462 李斯特 巴哈 前奏曲与赋格 作品462 Liszt Bach Preludios y fugas リスト バッハ オルガン のための6つの 前奏曲 と フーガ Piano 鋼琴 钢琴 ピアノ Organ 管風琴 Órgano オルガン Classical music Música clásica クラッシック 古典音樂 古典音乐 #Liszt #Bach #Prelude 00:00 Prelude 02:00 Fugue Liszt Bach Preludes & Fugues S.462 No.1 462-1 BWV 543 No.2 462-2 BWV 545 No.3 462-3 BWV 546 No.4 462-4 BWV 547 No.5 462-5 BWV 548 No.6 462-6 BWV 544 ref: Bach Prelude & Fuge BWV 545 https://www.youtube.com/watch?v=4oUBO69h8pg "Six great preludes and fugues" by Liszt, for Bach's BWV 543–548 for piano (S. 462), was composed in 1839–1840 and published in 1852 by C. F. Peters. As a child, Liszt had been instructed by his father to master the keyboard works of Bach, with daily exercises on fugues from the Well-Tempered Clavier (WTC). As a concert pianist, however, Liszt was not drawn to the organ. In 1857, having attended a Bach organ recital at the Frauenkirche, Dresden, which captivated both Clara Schumann and Joseph Joachim, Liszt's reaction had been, "Hm, dry as bones." Nevertheless, as far as Bach's music is concerned, Liszt became highly influential as a performer, transcriber and teacher. Already in 1836, early in his career, it is known that Liszt had developed a reverence for Bach's great "six preludes and fugues", BWV 543–548, or "The Great Six" fugues as they became known in the nineteenth century. In fact the previous year Liszt had eloped to Geneva with Marie d'Agoult, with whom they eventually had three children. After the birth of their first child, Liszt asked his mother in 1836 for his copies of The Art of the Fugue and the Great Six. In the same year Liszt became close to the circle of George Sand and Adolphe Pictet, both Bach devotees. Three years later, writing to Pictet from Rome, Liszt praised the "magnificent" Six Fugues, offering to send him a copy if he lacked one. During his period in Rome, there was a service at the church of the French Embassy, where Liszt performed one of Bach's fugues: according to Stinson, Liszt is unlikely to have had the pedal technique required for any of the Great Six, so almost certainly it was one of the WTC. When Liszt moved to Berlin in 1841, the first concerts where his new piano transcriptions of the Great Six were heard were at the beginning of 1842, with the E minor fugue of BWV 548 at the Singakademie and the A minor fugue of BWV 543 in Potsdam. During that period, as a travelling musician, Liszt's pianistic pyrotechnics proved a huge attraction for concert-goers. The term Lisztomania was coined by Heinrich Heine in 1844 to describe the frenzy generated by his Berlin audiences, even amongst the musically informed. Liszt performed the A minor fugue regularly in Berlin between 1842 and 1850. During this period there were reports that Liszt resorted to stunts in front of live audiences, which prompted possibly deserved charges of charlatanry. In August 1844, Liszt stayed in Montpellier while performing in the region. While there, he met up with his friend Jean-Joseph Bonaventure Laurens, an organist, artist and writer. His friendship with the Schumanns and Mendelssohn and the Bach library he had assembled with them enabled Laurens to become one of the main experts on Bach organ works in France. 40 years later, Laurens' brother recalls their lunchtime conversation. In semi-serious banter, Liszt demonstrated three ways of playing the A minor fugue, a work that Laurens said was so hard that only Liszt might be the only one capable of tackling it. Liszt first gave a straight rendition, which was a perfect classical way of playing; then he gave a second more colourful but still nuanced rendition, which was equally appreciated; finally he provided a third rendition, "as I would play it for the public ... to astonish, as a charlatan!" Laurens then writes that, "lighting a cigar that passed at moments from between his lips to his fingers, executing with his ten fingers the part written for the pedals, and indulging in other tours de force and prestidigitation, he was prodigious, incredible, fabulous, and received gratefully with enthusiasm." Stinson (2006) points out that this kind of gimmickry was not uncommon at that time: "Indeed, [Liszt] is reported to have accompanied Joachim in the last movement of Mendelssohn's Violin Concerto with a lighted cigar in his right hand the entire time!" ... https://www.youtube.com/watch?v=HvswenvKE9g