Selected works by Albéniz for percussion ensemble
Composer: Isaac Albéniz
Instrument: Percussion Ensemble
Level: unknown
Published: 2013
Price: €40.00
Item details
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Description +
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Arranged by Thomas Aanonlie
Duration: 20 min.
For my fifth publishing for Edition Svitzer, I have arranged four pieces for piano by the Spanish composer Isaac Manuel Francisco Albeniz.
1. Malagueña "Rumores de la Caleta" (sextet)
glockenspiel, vibraphone, 2 marimbas, castanets and timpani.
2. Malagueña op. 165, no. 3 (quintet)
glockenspiel, xylophone, marimba, vibraphone and castanets.
3. Sevilla, no. 3, from "Suite Española" (quintet)
glockenspiel, 2 marimbas, vibraphone and timpani.
4. Tango i D (trio)
2 marimbas and vibraphone.
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Instrumentation +
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Percussion Ensemble:
1. Malagueña "Rumores de la Caleta" (sextet)
glockenspiel, vibraphone, 2 marimbas, castanets and timpani.
2. Malagueña op. 165, no. 3 (quintet)
glockenspiel, xylophone, marimba, vibraphone and castanets.
3. Sevilla, no. 3, from "Suite Española" (quintet)
glockenspiel, 2 marimbas, vibraphone and timpani.
4. Tango i D (trio)
2 marimbas and vibraphone.
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About the composer +
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Isaac Manuel Francisco Albéniz y Pascual (29 May 1860–18 May 1909) was a Spanish pianist and composer best known for his piano works based on folk music idioms. Transcriptions of many of his pieces, such as Asturias (Leyenda), Granada, Sevilla, Cadiz, Cordoba, Cataluña, and the Tango in D, are important pieces for classical guitar, though he never composed for the guitar. The personal papers of Albéniz are preserved, among other institutions, in the Biblioteca de Catalunya.
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Reviews +
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Review (Percussive Notes, May 2014)
Many percussionists are familiar with the music of Spanish composer and pianist Issac Albéniz because of the well-known adaptation of “Asturias (Leyenda)” for marimba by Leigh Howard Stevens. The four pieces in this collection are just as intriguing, including the iconic “Tango in D.” Written with developing percussionists in mind, this chamber music collection also includes “Malagueña, Rumores de la Caleta,” “Malagueña op. 165, no. 3,” and “Sevilla, no. 3 from Suite Española.” Although the second marimba part is voiced for a 5.0-octave marimba, the composer suggests that it can be modified for smaller ranges using octave transposition.
The arrangements remain faithful to the original while being subtly and effectively orchestrated for percussion. Of note here is the opportunistic addition of castanets on two of the pieces because, while not present in the original compositions, they enhance the Spanish flavor and provide a fantastic chance to develop techniques on this awesome, yet often unappreciated, instrument.
The publisher should be commended for producing top-notch design, layout, and engraving. Educators will appreciate the publisher’s willingness to include historical information such as a biography and quality images of Albéniz and his original manuscript. If you are looking for some first-rate transcriptions that will expose your students to the character of the Spanish classical style, give these a try.
—John Willmarth
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Credits +
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Front Cover graphics and layout: Ronni Kot Wenzell
Translation: Anders Fitje
Engraving: Johan Svitzer
Printed in Copenhagen, Denmark
Copyright © Edition SVITZER
www.editionsvitzer.com
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