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The Spanish Album

For violin And Piano

By Jenoe Hubay

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Strings violin, piano
For violin And Piano. Composed by Jenoe Hubay, Jose Aviles, Camille Saint-Saens (1835-1921), Moritz Moszkowski (1854-1925), Enrique Granados (1867-1916), and Pablo de Sarasate (1844-1908). Edited by Simon Reeves, Alexander Lehmann, and Gustave Saenger. Arranged by Eric Wen. Back To School. With Standard notation. Carl Fischer Music #BF74. Published by Carl Fischer Music (CF.BF74).

Item Number: CF.BF74

ISBN 9780825889707. 9 x 12 inches. Transcribed by Jacques Thibaud Albert Stoessel.

Classical music in Spain underwent a resurgence in the mid-nineteeth century, and the nationalistic emphasis of the Romantic era certainly provided fertile ground for the use of the unique sounds of the Iberian Peninsula. In the realm of violin music, Pablo de Sarasateas compositions revealed Romantic Spain to much of the world and were inspirations for many other composersa violin works in the same vein. Eric Wenas compilation aThe Spanish Albuma is a great representative survey of this trend. His foreword provides a lively and informative background for the pieces and composers in the book.
When we think of Spain and the violin, it is the name of Pablo de Sarasate (1844-1908) that immediately comes to mind. Born in Pamplona, northern Spain, Sarasate began studying the violin with his father at the age of five. After giving his first public concert three years later, he was awarded a scholarship to study at the Madrid Conservatory. Queen Isabellla presented the young prodigy with a Stradivari violin when he was ten, and two years later, in 1856, he went to Paris to study under Jean Delphin Alard at the Paris Conservatoire. In less than a year he was awarded the premier prix. The year after, he was awarded the premier prix in solfAge and harmony, completing his musical studies at 15. Over the course of his career, he toured many parts of the world, performing throughout Europe and North and South America, even touring the Far East. According to George Bernard Shaw, Sarasate aleft criticism gasping miles behind him.a His elegant playing, characterized by a fleet virtuosity combined with immaculate intonation, was dazzling. No less a figure than Leopold Auer remarked that Sarasate aplayed without any effort at all, touching the strings with a magic bow in a manner which had no hint of the terrestrial.a Sarasate did not teach, and thus left no aschool.a Nevertheless, he inspired a host of composers to write violin pieces dedicated to him, such as Bruch (Second Violin Concerto and Scottish Fantasy), Saint-SaA<

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