Las tonalidades que Albniz utiliza para la composicin

de Les Saisons (1892) tienen una estrecha relacin: la

mayor para la primavera, re mayor para el verano, la
menor para el otoo y re menor para el invierno. Su
primera publicacin tuvo lugar en Londres en 1892 bajo el
ttulo original de Album of Miniatures, cuyos 4 nmeros
llevan los nombres de Spring, Summer, Autumn y Winter.
Girod sustituye en su edicin el nombre original por el de
Les Saisons. Los nmeros contenidos en esta obra
representan unas breves pinceladas evocadoras de cada
estacin del ao y se podran considerar un antecedente
de las impresiones que pronto aparecern en la msica
francesa.
La Rapsodia cubana, segn Jacinto Torres, fue compuesta en 1881 y estrenada por el propio Albniz en el
teatro Avellaneda de La Habana en un concierto junto al
tambin pianista Manuel Jimnez. La primera edicin
impresa de la obra se produjo en 1886 y estuvo a cargo
de Antonio Romero, uno de los principales editores de
Albniz durante su carrera como compositor. Esta pieza se
encuentra en la tonalidad de sol mayor y posee un carcter
muy alegre, al tiempo que ana a la perfeccin el aire
caribeo con una tcnica virtuosa y gil.
La Suite Antigua n 1 est formada por dos nmeros:
Gavota y Minuetto. Fue compuesta en 1885 y estrenada
por el propio Albniz en 1886 en el Crculo de la Unin
Mercantil e Industrial de Madrid. Fue dedicada a su alumna
Trinidad Scholtz de Hermensdorff. La Gavota est dividida
en dos secciones, la primera de carcter marcial y la
segunda lrica y expresiva. Ambas partes se suceden en
una forma lied. El Minuetto est compuesto en la tonalidad
de la bemol mayor y junto con la Gavota fue vendido al
editor Carlo Ducci, a quien Albniz cedi los derechos para
el Reino Unido en 1889.

31/5/14

3:01 PM

Page 1

En la edicin impresa del Scherzo (1884) aparece como

perteneciente a la Sonata en la bemol, aunque no nos ha
llegado rastro de los dems movimientos que deban
completarla (cuatro en total). Este Scherzo fue dedicado al
Conde de Morphy, secretario del rey Alfonso XII y uno de
los mayores protectores y mecenas de Albniz. Esta obra
posee una primera parte de una energa y una fuerza
arrebatadoras y una segunda, en la que el lirismo y las
melodas cantabiles adquieren el protagonismo.
Las Dos mazurcas de saln (Amalia y Ricordati) las
podemos encuadrar dentro de la esttica de la msica de
saln de finales del siglo XIX. Forman parte de este gnero
musical todas las romanzas, serenatas, mazurkas, valses,
etc., y un sinfn de obritas breves que constituan el
repertorio de aquel pianista que deslumbraba y daba
clases a las nias de la sociedad ms acomodada. Fueron
publicadas por Benito Zozaya en 1888. Amalia fue dedicada a su discpula Amalia Loring de Silvela y Ricordati a
su esposa Rosa Jordana.
La partitura de LAutomne-Valse es otra muestra de
msica de saln y fue grabada en las planchas de los
talleres Manuel Salvat y editada por Puyol en 1890. En ese
mismo ao apareci tambin publicada en Londres a cargo
de la Stanley Weber, Lucas & Company. En la edicin
espaola lleva el nmero de opus 170 y su forma musical
podramos organizarla en tres partes, cada una de ellas en
una tonalidad diferente, a la que Albniz aadi una
introduccin de corte cromtico y una coda que contena
material de las diferentes secciones. Ms tarde esta obra
sera orquestada por el propio compositor para los
conciertos sinfnicos de su amigo Toms Bretn.

Photo of Juan Jos Mudarra Gmiz by Jose M. Valero

573293bk Albeniz5:New 6-page template A

SPANISH CLASSICS

ALBNIZ
Piano Music
Siete estudios Les Saisons
Rapsodia cubana Suite antigua No. 1
Juan Jos Mudarra Gmiz

Julio Molina Garca

Musiclogo y alumno de piano de Juan Jos Mudarra Gmiz

C
M
Y
K
5

8.573293

8.573293

573293bk Albeniz5:New 6-page template A

31/5/14

3:01 PM

Page 2

Isaac Albniz (18601909)

Piano Music 5
Isaac Manuel Francisco Albniz y Pascual was born into a
bourgeois liberal family in Camprodn (in the province of
Gerona, Catalonia) on 29th May 1860. His mother, Dolors
Pascual, was Catalan, from Figueres. His Basque father,
ngel, was a civil servant and an active freemason, whose
contacts were at times a help in promoting his young sons
career.
A child prodigy, Albniz gave his first concert at the age
of four, and wrote his first composition at nine. From a very
young age he toured the cities of Spain and Central
America with his father. Thanks to a grant awarded by
Alfonso XII, he was able to study at the Brussels Conservatory, graduating with highest honours in 1879. He then
went back to performing, undertaking tours both in Spain
and in Cuba.
Having travelled so widely as a child, Albniz was very
receptive to all kinds of musical ideas, from the different
forms of Spanish folk-music to the Central European
classical tradition. He was a socialist and an atheist, and
felt that Spain was culturally behind the times. In 1889 he
moved to London, where he lived for the next four years.
He began by giving concerts there, but gradually threw
himself more and more into composing. His style at the
time did not go down particularly well in Madrid, where
some of his works were even dubbed foreign-sounding,
but in his eyes, Spanish music could only undergo the
renewal it needed outside Spain. In 1893 he left London to
settle in Paris. There he remained for the rest of his life,
enjoying friendships and musical exchanges with DIndy,
Dukas and Debussy. He also opened up the way for other
Spanish composers to come to France and find success
there figures such as Joaqun Turina and Manuel de
Falla.
At the turn of the twentieth century the most eminent
Spanish composer working outside Spain was Albniz.
Striking a perfect balance between incomparable compositional technique and an unmistakably Spanish idiom, his
music was the result of a long journey, from his early years
as a virtuoso pianist, to the time he had spent studying and
acquiring the technical and theoretical knowledge that

enabled him years later to concentrate on his creative

activity.
It was in the late 1880s that the transformation from
virtuoso performer to composer took place. His career can
be divided into three distinct phases: the first (the focus of
this album) is closely associated with his success as a
performer and centres around attractive, colourful salon
music; in the second phase his primary source of inspiration was Spanish folk music; and in the third and final
phase, influenced by late Romanticism and Impressionism,
he achieved his mature and most personal style, melding
all the various strands of his earlier years.
Albnizs catalogue is vast and wide-ranging, comprising
operas, zarzuelas, vocal pieces and concertos and other
orchestral works, although many of these have been overshadowed by the music for which he is best-known: his
piano works, in particular the suite Iberia (190508), his
crowning achievement in the field. In simplified terms, one
might say that Albniz put into practice and disseminated
around the world the theories advocated by his compatriot
Felipe Pedrell in his writings.
The premire of the Siete estudios en los tonos
naturales mayores (Seven studies in the natural major
keys) took place in the Spring of 1886. Each study is in a
different key, arranged in ascending fifths (C, G, D, A, E, B
and F), and the cover page includes the words primera
serie (first series), suggesting that Albniz may have
intended to write more, perhaps based on the black keys
of the piano, or on the natural minor keys. The works
underlying structure calls to mind the tonal series of Bachs
Well-tempered Clavier or Chopins Preludes. The studies
make considerable technical demands on the performer
and are in no way mere mechanical exercises devoid of
expression or musicality on the contrary they anticipate
the later Albniz, a composer capable of intertwining the
purest Spanish tradition with that of Central Europe. The
set was dedicated to his fellow student Jos Trag and to
Jess Monasterio.
The key signatures he uses in Les Saisons (The
Seasons, 1892), are closely related to one another: A major

8.573293

for Spring, D major for Summer, A minor for Autumn and

D minor for Winter. The work was first published in London
in 1892 under the title Album of Miniatures, with four subheadings of Spring, Summer, Autumn and Winter. The
Parisian publisher Girod changed the original name to Les
Saisons for the French edition. Each of the four numbers
provides a brief but evocative portrait of the season in
question, and the set can be seen as a forerunner of the
impressionistic writing that would soon appear in French
music.
According to Jacinto Torres, the Rapsodia cubana
(Cuban Rhapsody) was composed in 1881 and given its
premire by Albniz himself at the Avellaneda Theatre in
Havana, as part of a concert he gave with fellow pianist
Manuel Jimnez. The score was first issued in 1886 by
Antonio Romero, one of Albnizs principal publishers
throughout his career. Written in G major, this is a very
lively, lighthearted piece, and blends to perfection Caribbean rhythms with an agile, virtuoso technique.
The Suite antigua No.1 is made up of two movements:
Gavota and Minuetto. It was written in 1885 and first performed a year later, again by the composer, at the Crculo
de la Unin Mercantil e Industrial in Madrid. The suite is
dedicated to his pupil Trinidad Scholtz de Hermensdorff.
The Gavota is divided into two sections, the first is martial
in character, the second lyrical and expressive, and the two
follow on from one another in Lied form. The Minuetto is in
A flat major and, together with the Gavota, was sold to
Carlo Ducci, the publisher to whom Albniz ceded his UK
rights in 1889.

The printed edition of the Scherzo (1884) shows it as

belonging to the Sonata in A flat, although no trace of the
remaining movements has survived. The Scherzo was
dedicated to Guillermo de Morphy, secretary to Alfonso XII
and one of Albnizs greatest advocates and patrons. Its
first part is characterized by breathtaking power and
energy, its second by lyricism and cantabile melodies.
The Dos mazurcas de saln (Two Salon Mazurkas)
Amalia and Ricordati (Remember) can be categorized as
part of the late nineteenth-century trend for salon music, a
genre that encompassed all the romanzas, serenatas,
mazurkas, waltzes and endless other short pieces that
made up the repertoire of the virtuoso performer who also
gave lessons to well-born young ladies. Published by
Benito Zozaya in 1888, Amalia was dedicated to Albnizs
pupil Amalia Loring de Silvela and Ricordati to his wife
Rosa Jordana.
LAutomne-Valse (The Autumn Waltz) is another salon
piece, printed by Manuel Salvat and published in Spain by
Puyol in 1890 (as Albnizs Opus 170) and, that same year,
in London by Stanley Weber, Lucas & Company. It has a
tripartite structure, with each of its three sections in a
different key; to this, the composer added a chromatic
introduction and a coda that revisits material from the
different sections. Albniz later orchestrated the work for
concerts organized by his friend Toms Bretn.

Isaac Albniz (18601909)

Integral de la msica para piano 5

Born in Martos (Jan), Juan Jos Mudarra studied at the Jan Conservatory with Mara Luisa Monzn and Ernesto
Roco and at the Royal Conservatory in Madrid with Guillermo Gonzlez, completing his studies with an Honourable
Mention and Prize of Honour in Harmony. He undertook further study at the Sibelius Academy in Helsinki with Hamsa
Al-Vadi Juris and at the Southern Methodist University of Dallas in Texas with Joaqun Achcarro. He has won various
prizes, including First Prize at the Valencia Seventh Jos Roca National Competition in 2004. He has appeared as a
soloist and with various chamber ensmbles and orchestras throughout much of Spain as well as in Finland, the United
States and China. He has given classes in interpretation and has a Masters degree in Piano and Chamber Music from
the International University of Andalusia and a Master of Education and New Technologies from the Madrid Open
University, UDIMA. He serves as a senior lecturer at the Jan Conservatory.

Isaac Manuel Francisco Albniz y Pascual naci en

Camprodn (Gerona) el 29 de mayo de 1860 en el seno de
una familia burguesa liberal. Su madre, Dolors Pascual,
era catalana, de Figueres. Su padre, llamado ngel, era
vasco, funcionario y un activo francmasn, condicin que
en algunos momentos ayud a Isaac a impulsar su carrera.
Albniz fue un autntico nio prodigio. Dio su primer
concierto a la edad de 4 aos y compuso su primera obra
a los 9. Desde muy joven, viaj por multitud de ciudades de
la geografa espaola y de Centroamrica acompaando a
su padre. Gracias a una beca que le otorg Alfonso XII
viaj a Bruselas, donde se gradu con las mximas
distinciones en 1879. Tras su graduacin retom sus giras
de conciertos tanto por Cuba como por Espaa.
El haber viajado de forma tan profusa durante su
juventud, hizo a Albniz tener una actitud abierta y
receptiva tanto a la tradicin musical centroeuropea como
a las diferentes manifestaciones del folklore espaol. Era
socialista y ateo y pensaba que Espaa se encontraba
atrasada culturalmente. En 1889 se estableci en Londres,
donde permaneci hasta 1893. Al principio empez a dar
conciertos, pero poco a poco comenz a volcarse en la
composicin. El estilo que ya exhiba Albniz por aquel
entonces no gustaba demasiado en Madrid, hasta el punto
que algunas de sus obras fueron tachadas de extranjerizadas. Tal como lo vea Albniz, solo poda renovar la
msica espaola fuera del pas. En 1893, tras abandonar
Londres fij su residencia en Pars, donde permaneci el
resto de su vida y donde comparti vivencias e intercambios musicales con dIndy, Dukas o Debussy. Tambin
fue el encargado de abrir el camino a otros compositores
espaoles, que luego terminaran triunfando en Francia,
como Joaqun Turina o Manuel de Falla.
En torno a 1900, el compositor espaol ms destacado
que se encontraba en activo en el extranjero era Albniz.
Su msica posee un equilibrio entre una tcnica de
composicin intachable y una expresin inequvocamente
espaola. Para lograr esta conjuncin, Albniz tuvo que
recorrer un largo camino que parte de sus primeros aos
como concertista y virtuoso del piano, al tiempo que fue

Julio Molina Garca

Musicologist and piano student of Juan Jos Mudarra
English translation by Susannah Howe

Juan Jos Mudarra Gmiz

8.573293

adquiriendo conocimientos tcnicos y tericos que le

permitieron aos ms tarde centrarse en su actividad
creativa.
Es en la segunda parte de la dcada de 1880 donde se
produce la metamorfosis del Albniz pianista virtuoso al
Albniz compositor. Podemos sealar tres periodos en su
trayectoria vital: uno primero (en el cual est encuadrado
este CD) muy relacionado con sus xitos como intrprete
donde compone msica de corte salonier, atractiva y
colorista; una segunda etapa en la que presta una mayor
atencin a los temas de raz folklrica; y una tercera y
ltima en la que, por influencia postromntica e impresionista, logra su estilo de plenitud y consigue sublimar todas
esas influencias y crear su estilo ms personal.
Albniz posee una vasta y variada produccin musical:
peras, zarzuelas, conciertos, canciones, rapsodias, etc.,
aunque muchas de ellas han sido ensombrecidas por su
produccin ms famosa: la msica para piano y en
especial Iberia (1905-1908), la suite que supuso el culmen
de su pianismo. A modo de breve resumen, podramos
decir que Albniz fue el encargado de llevar a la prctica y
de difundir por todo el mundo lo que Felipe Pedrell
abogaba en sus escritos.
La creacin de estos Siete estudios en los tonos
naturales mayores tuvo lugar en la primavera de 1886 y
cada uno est en un tono diferente, organizados por
quintas ascendentes (Do, Sol, Re, La, Mi, Si y Fa). En la
cubierta aparece primera serie, lo que sugiere que Albniz
podra tener la idea de continuar con ms estudios, quiz
compuestos en los tonos de las teclas negras del piano o
en los tonos naturales menores. Esa intencionalidad tonal
nos lleva a establecer paralelismos con las series que ya
hicieran Bach en El Clave Bien Temperado o Chopin en los
Preludios. Aparte de ser obras de una notable dificultad
tcnica, no son unos meros ejercicios mecnicos carentes
de expresin y musicalidad, sino que, por el contrario, ya
anticipan lo que ser el Albniz capaz de aunar la tradicin
centroeuropea con la ms puramente espaola. Fueron
dedicados a su compaero de estudios Jos Trag y a
Jess Monasterio.

8.573293

573293bk Albeniz5:New 6-page template A

31/5/14

3:01 PM

Page 2

Isaac Albniz (18601909)

Piano Music 5
Isaac Manuel Francisco Albniz y Pascual was born into a
bourgeois liberal family in Camprodn (in the province of
Gerona, Catalonia) on 29th May 1860. His mother, Dolors
Pascual, was Catalan, from Figueres. His Basque father,
ngel, was a civil servant and an active freemason, whose
contacts were at times a help in promoting his young sons
career.
A child prodigy, Albniz gave his first concert at the age
of four, and wrote his first composition at nine. From a very
young age he toured the cities of Spain and Central
America with his father. Thanks to a grant awarded by
Alfonso XII, he was able to study at the Brussels Conservatory, graduating with highest honours in 1879. He then
went back to performing, undertaking tours both in Spain
and in Cuba.
Having travelled so widely as a child, Albniz was very
receptive to all kinds of musical ideas, from the different
forms of Spanish folk-music to the Central European
classical tradition. He was a socialist and an atheist, and
felt that Spain was culturally behind the times. In 1889 he
moved to London, where he lived for the next four years.
He began by giving concerts there, but gradually threw
himself more and more into composing. His style at the
time did not go down particularly well in Madrid, where
some of his works were even dubbed foreign-sounding,
but in his eyes, Spanish music could only undergo the
renewal it needed outside Spain. In 1893 he left London to
settle in Paris. There he remained for the rest of his life,
enjoying friendships and musical exchanges with DIndy,
Dukas and Debussy. He also opened up the way for other
Spanish composers to come to France and find success
there figures such as Joaqun Turina and Manuel de
Falla.
At the turn of the twentieth century the most eminent
Spanish composer working outside Spain was Albniz.
Striking a perfect balance between incomparable compositional technique and an unmistakably Spanish idiom, his
music was the result of a long journey, from his early years
as a virtuoso pianist, to the time he had spent studying and
acquiring the technical and theoretical knowledge that

enabled him years later to concentrate on his creative

activity.
It was in the late 1880s that the transformation from
virtuoso performer to composer took place. His career can
be divided into three distinct phases: the first (the focus of
this album) is closely associated with his success as a
performer and centres around attractive, colourful salon
music; in the second phase his primary source of inspiration was Spanish folk music; and in the third and final
phase, influenced by late Romanticism and Impressionism,
he achieved his mature and most personal style, melding
all the various strands of his earlier years.
Albnizs catalogue is vast and wide-ranging, comprising
operas, zarzuelas, vocal pieces and concertos and other
orchestral works, although many of these have been overshadowed by the music for which he is best-known: his
piano works, in particular the suite Iberia (190508), his
crowning achievement in the field. In simplified terms, one
might say that Albniz put into practice and disseminated
around the world the theories advocated by his compatriot
Felipe Pedrell in his writings.
The premire of the Siete estudios en los tonos
naturales mayores (Seven studies in the natural major
keys) took place in the Spring of 1886. Each study is in a
different key, arranged in ascending fifths (C, G, D, A, E, B
and F), and the cover page includes the words primera
serie (first series), suggesting that Albniz may have
intended to write more, perhaps based on the black keys
of the piano, or on the natural minor keys. The works
underlying structure calls to mind the tonal series of Bachs
Well-tempered Clavier or Chopins Preludes. The studies
make considerable technical demands on the performer
and are in no way mere mechanical exercises devoid of
expression or musicality on the contrary they anticipate
the later Albniz, a composer capable of intertwining the
purest Spanish tradition with that of Central Europe. The
set was dedicated to his fellow student Jos Trag and to
Jess Monasterio.
The key signatures he uses in Les Saisons (The
Seasons, 1892), are closely related to one another: A major

8.573293

for Spring, D major for Summer, A minor for Autumn and

D minor for Winter. The work was first published in London
in 1892 under the title Album of Miniatures, with four subheadings of Spring, Summer, Autumn and Winter. The
Parisian publisher Girod changed the original name to Les
Saisons for the French edition. Each of the four numbers
provides a brief but evocative portrait of the season in
question, and the set can be seen as a forerunner of the
impressionistic writing that would soon appear in French
music.
According to Jacinto Torres, the Rapsodia cubana
(Cuban Rhapsody) was composed in 1881 and given its
premire by Albniz himself at the Avellaneda Theatre in
Havana, as part of a concert he gave with fellow pianist
Manuel Jimnez. The score was first issued in 1886 by
Antonio Romero, one of Albnizs principal publishers
throughout his career. Written in G major, this is a very
lively, lighthearted piece, and blends to perfection Caribbean rhythms with an agile, virtuoso technique.
The Suite antigua No.1 is made up of two movements:
Gavota and Minuetto. It was written in 1885 and first performed a year later, again by the composer, at the Crculo
de la Unin Mercantil e Industrial in Madrid. The suite is
dedicated to his pupil Trinidad Scholtz de Hermensdorff.
The Gavota is divided into two sections, the first is martial
in character, the second lyrical and expressive, and the two
follow on from one another in Lied form. The Minuetto is in
A flat major and, together with the Gavota, was sold to
Carlo Ducci, the publisher to whom Albniz ceded his UK
rights in 1889.

The printed edition of the Scherzo (1884) shows it as

belonging to the Sonata in A flat, although no trace of the
remaining movements has survived. The Scherzo was
dedicated to Guillermo de Morphy, secretary to Alfonso XII
and one of Albnizs greatest advocates and patrons. Its
first part is characterized by breathtaking power and
energy, its second by lyricism and cantabile melodies.
The Dos mazurcas de saln (Two Salon Mazurkas)
Amalia and Ricordati (Remember) can be categorized as
part of the late nineteenth-century trend for salon music, a
genre that encompassed all the romanzas, serenatas,
mazurkas, waltzes and endless other short pieces that
made up the repertoire of the virtuoso performer who also
gave lessons to well-born young ladies. Published by
Benito Zozaya in 1888, Amalia was dedicated to Albnizs
pupil Amalia Loring de Silvela and Ricordati to his wife
Rosa Jordana.
LAutomne-Valse (The Autumn Waltz) is another salon
piece, printed by Manuel Salvat and published in Spain by
Puyol in 1890 (as Albnizs Opus 170) and, that same year,
in London by Stanley Weber, Lucas & Company. It has a
tripartite structure, with each of its three sections in a
different key; to this, the composer added a chromatic
introduction and a coda that revisits material from the
different sections. Albniz later orchestrated the work for
concerts organized by his friend Toms Bretn.

Isaac Albniz (18601909)

Integral de la msica para piano 5

Born in Martos (Jan), Juan Jos Mudarra studied at the Jan Conservatory with Mara Luisa Monzn and Ernesto
Roco and at the Royal Conservatory in Madrid with Guillermo Gonzlez, completing his studies with an Honourable
Mention and Prize of Honour in Harmony. He undertook further study at the Sibelius Academy in Helsinki with Hamsa
Al-Vadi Juris and at the Southern Methodist University of Dallas in Texas with Joaqun Achcarro. He has won various
prizes, including First Prize at the Valencia Seventh Jos Roca National Competition in 2004. He has appeared as a
soloist and with various chamber ensmbles and orchestras throughout much of Spain as well as in Finland, the United
States and China. He has given classes in interpretation and has a Masters degree in Piano and Chamber Music from
the International University of Andalusia and a Master of Education and New Technologies from the Madrid Open
University, UDIMA. He serves as a senior lecturer at the Jan Conservatory.

Isaac Manuel Francisco Albniz y Pascual naci en

Camprodn (Gerona) el 29 de mayo de 1860 en el seno de
una familia burguesa liberal. Su madre, Dolors Pascual,
era catalana, de Figueres. Su padre, llamado ngel, era
vasco, funcionario y un activo francmasn, condicin que
en algunos momentos ayud a Isaac a impulsar su carrera.
Albniz fue un autntico nio prodigio. Dio su primer
concierto a la edad de 4 aos y compuso su primera obra
a los 9. Desde muy joven, viaj por multitud de ciudades de
la geografa espaola y de Centroamrica acompaando a
su padre. Gracias a una beca que le otorg Alfonso XII
viaj a Bruselas, donde se gradu con las mximas
distinciones en 1879. Tras su graduacin retom sus giras
de conciertos tanto por Cuba como por Espaa.
El haber viajado de forma tan profusa durante su
juventud, hizo a Albniz tener una actitud abierta y
receptiva tanto a la tradicin musical centroeuropea como
a las diferentes manifestaciones del folklore espaol. Era
socialista y ateo y pensaba que Espaa se encontraba
atrasada culturalmente. En 1889 se estableci en Londres,
donde permaneci hasta 1893. Al principio empez a dar
conciertos, pero poco a poco comenz a volcarse en la
composicin. El estilo que ya exhiba Albniz por aquel
entonces no gustaba demasiado en Madrid, hasta el punto
que algunas de sus obras fueron tachadas de extranjerizadas. Tal como lo vea Albniz, solo poda renovar la
msica espaola fuera del pas. En 1893, tras abandonar
Londres fij su residencia en Pars, donde permaneci el
resto de su vida y donde comparti vivencias e intercambios musicales con dIndy, Dukas o Debussy. Tambin
fue el encargado de abrir el camino a otros compositores
espaoles, que luego terminaran triunfando en Francia,
como Joaqun Turina o Manuel de Falla.
En torno a 1900, el compositor espaol ms destacado
que se encontraba en activo en el extranjero era Albniz.
Su msica posee un equilibrio entre una tcnica de
composicin intachable y una expresin inequvocamente
espaola. Para lograr esta conjuncin, Albniz tuvo que
recorrer un largo camino que parte de sus primeros aos
como concertista y virtuoso del piano, al tiempo que fue

Julio Molina Garca

Musicologist and piano student of Juan Jos Mudarra
English translation by Susannah Howe

Juan Jos Mudarra Gmiz

8.573293

adquiriendo conocimientos tcnicos y tericos que le

permitieron aos ms tarde centrarse en su actividad
creativa.
Es en la segunda parte de la dcada de 1880 donde se
produce la metamorfosis del Albniz pianista virtuoso al
Albniz compositor. Podemos sealar tres periodos en su
trayectoria vital: uno primero (en el cual est encuadrado
este CD) muy relacionado con sus xitos como intrprete
donde compone msica de corte salonier, atractiva y
colorista; una segunda etapa en la que presta una mayor
atencin a los temas de raz folklrica; y una tercera y
ltima en la que, por influencia postromntica e impresionista, logra su estilo de plenitud y consigue sublimar todas
esas influencias y crear su estilo ms personal.
Albniz posee una vasta y variada produccin musical:
peras, zarzuelas, conciertos, canciones, rapsodias, etc.,
aunque muchas de ellas han sido ensombrecidas por su
produccin ms famosa: la msica para piano y en
especial Iberia (1905-1908), la suite que supuso el culmen
de su pianismo. A modo de breve resumen, podramos
decir que Albniz fue el encargado de llevar a la prctica y
de difundir por todo el mundo lo que Felipe Pedrell
abogaba en sus escritos.
La creacin de estos Siete estudios en los tonos
naturales mayores tuvo lugar en la primavera de 1886 y
cada uno est en un tono diferente, organizados por
quintas ascendentes (Do, Sol, Re, La, Mi, Si y Fa). En la
cubierta aparece primera serie, lo que sugiere que Albniz
podra tener la idea de continuar con ms estudios, quiz
compuestos en los tonos de las teclas negras del piano o
en los tonos naturales menores. Esa intencionalidad tonal
nos lleva a establecer paralelismos con las series que ya
hicieran Bach en El Clave Bien Temperado o Chopin en los
Preludios. Aparte de ser obras de una notable dificultad
tcnica, no son unos meros ejercicios mecnicos carentes
de expresin y musicalidad, sino que, por el contrario, ya
anticipan lo que ser el Albniz capaz de aunar la tradicin
centroeuropea con la ms puramente espaola. Fueron
dedicados a su compaero de estudios Jos Trag y a
Jess Monasterio.

8.573293

573293bk Albeniz5:New 6-page template A

31/5/14

3:01 PM

Page 2

Isaac Albniz (18601909)

Piano Music 5
Isaac Manuel Francisco Albniz y Pascual was born into a
bourgeois liberal family in Camprodn (in the province of
Gerona, Catalonia) on 29th May 1860. His mother, Dolors
Pascual, was Catalan, from Figueres. His Basque father,
ngel, was a civil servant and an active freemason, whose
contacts were at times a help in promoting his young sons
career.
A child prodigy, Albniz gave his first concert at the age
of four, and wrote his first composition at nine. From a very
young age he toured the cities of Spain and Central
America with his father. Thanks to a grant awarded by
Alfonso XII, he was able to study at the Brussels Conservatory, graduating with highest honours in 1879. He then
went back to performing, undertaking tours both in Spain
and in Cuba.
Having travelled so widely as a child, Albniz was very
receptive to all kinds of musical ideas, from the different
forms of Spanish folk-music to the Central European
classical tradition. He was a socialist and an atheist, and
felt that Spain was culturally behind the times. In 1889 he
moved to London, where he lived for the next four years.
He began by giving concerts there, but gradually threw
himself more and more into composing. His style at the
time did not go down particularly well in Madrid, where
some of his works were even dubbed foreign-sounding,
but in his eyes, Spanish music could only undergo the
renewal it needed outside Spain. In 1893 he left London to
settle in Paris. There he remained for the rest of his life,
enjoying friendships and musical exchanges with DIndy,
Dukas and Debussy. He also opened up the way for other
Spanish composers to come to France and find success
there figures such as Joaqun Turina and Manuel de
Falla.
At the turn of the twentieth century the most eminent
Spanish composer working outside Spain was Albniz.
Striking a perfect balance between incomparable compositional technique and an unmistakably Spanish idiom, his
music was the result of a long journey, from his early years
as a virtuoso pianist, to the time he had spent studying and
acquiring the technical and theoretical knowledge that

enabled him years later to concentrate on his creative

activity.
It was in the late 1880s that the transformation from
virtuoso performer to composer took place. His career can
be divided into three distinct phases: the first (the focus of
this album) is closely associated with his success as a
performer and centres around attractive, colourful salon
music; in the second phase his primary source of inspiration was Spanish folk music; and in the third and final
phase, influenced by late Romanticism and Impressionism,
he achieved his mature and most personal style, melding
all the various strands of his earlier years.
Albnizs catalogue is vast and wide-ranging, comprising
operas, zarzuelas, vocal pieces and concertos and other
orchestral works, although many of these have been overshadowed by the music for which he is best-known: his
piano works, in particular the suite Iberia (190508), his
crowning achievement in the field. In simplified terms, one
might say that Albniz put into practice and disseminated
around the world the theories advocated by his compatriot
Felipe Pedrell in his writings.
The premire of the Siete estudios en los tonos
naturales mayores (Seven studies in the natural major
keys) took place in the Spring of 1886. Each study is in a
different key, arranged in ascending fifths (C, G, D, A, E, B
and F), and the cover page includes the words primera
serie (first series), suggesting that Albniz may have
intended to write more, perhaps based on the black keys
of the piano, or on the natural minor keys. The works
underlying structure calls to mind the tonal series of Bachs
Well-tempered Clavier or Chopins Preludes. The studies
make considerable technical demands on the performer
and are in no way mere mechanical exercises devoid of
expression or musicality on the contrary they anticipate
the later Albniz, a composer capable of intertwining the
purest Spanish tradition with that of Central Europe. The
set was dedicated to his fellow student Jos Trag and to
Jess Monasterio.
The key signatures he uses in Les Saisons (The
Seasons, 1892), are closely related to one another: A major

8.573293

for Spring, D major for Summer, A minor for Autumn and

D minor for Winter. The work was first published in London
in 1892 under the title Album of Miniatures, with four subheadings of Spring, Summer, Autumn and Winter. The
Parisian publisher Girod changed the original name to Les
Saisons for the French edition. Each of the four numbers
provides a brief but evocative portrait of the season in
question, and the set can be seen as a forerunner of the
impressionistic writing that would soon appear in French
music.
According to Jacinto Torres, the Rapsodia cubana
(Cuban Rhapsody) was composed in 1881 and given its
premire by Albniz himself at the Avellaneda Theatre in
Havana, as part of a concert he gave with fellow pianist
Manuel Jimnez. The score was first issued in 1886 by
Antonio Romero, one of Albnizs principal publishers
throughout his career. Written in G major, this is a very
lively, lighthearted piece, and blends to perfection Caribbean rhythms with an agile, virtuoso technique.
The Suite antigua No.1 is made up of two movements:
Gavota and Minuetto. It was written in 1885 and first performed a year later, again by the composer, at the Crculo
de la Unin Mercantil e Industrial in Madrid. The suite is
dedicated to his pupil Trinidad Scholtz de Hermensdorff.
The Gavota is divided into two sections, the first is martial
in character, the second lyrical and expressive, and the two
follow on from one another in Lied form. The Minuetto is in
A flat major and, together with the Gavota, was sold to
Carlo Ducci, the publisher to whom Albniz ceded his UK
rights in 1889.

The printed edition of the Scherzo (1884) shows it as

belonging to the Sonata in A flat, although no trace of the
remaining movements has survived. The Scherzo was
dedicated to Guillermo de Morphy, secretary to Alfonso XII
and one of Albnizs greatest advocates and patrons. Its
first part is characterized by breathtaking power and
energy, its second by lyricism and cantabile melodies.
The Dos mazurcas de saln (Two Salon Mazurkas)
Amalia and Ricordati (Remember) can be categorized as
part of the late nineteenth-century trend for salon music, a
genre that encompassed all the romanzas, serenatas,
mazurkas, waltzes and endless other short pieces that
made up the repertoire of the virtuoso performer who also
gave lessons to well-born young ladies. Published by
Benito Zozaya in 1888, Amalia was dedicated to Albnizs
pupil Amalia Loring de Silvela and Ricordati to his wife
Rosa Jordana.
LAutomne-Valse (The Autumn Waltz) is another salon
piece, printed by Manuel Salvat and published in Spain by
Puyol in 1890 (as Albnizs Opus 170) and, that same year,
in London by Stanley Weber, Lucas & Company. It has a
tripartite structure, with each of its three sections in a
different key; to this, the composer added a chromatic
introduction and a coda that revisits material from the
different sections. Albniz later orchestrated the work for
concerts organized by his friend Toms Bretn.

Isaac Albniz (18601909)

Integral de la msica para piano 5

Born in Martos (Jan), Juan Jos Mudarra studied at the Jan Conservatory with Mara Luisa Monzn and Ernesto
Roco and at the Royal Conservatory in Madrid with Guillermo Gonzlez, completing his studies with an Honourable
Mention and Prize of Honour in Harmony. He undertook further study at the Sibelius Academy in Helsinki with Hamsa
Al-Vadi Juris and at the Southern Methodist University of Dallas in Texas with Joaqun Achcarro. He has won various
prizes, including First Prize at the Valencia Seventh Jos Roca National Competition in 2004. He has appeared as a
soloist and with various chamber ensmbles and orchestras throughout much of Spain as well as in Finland, the United
States and China. He has given classes in interpretation and has a Masters degree in Piano and Chamber Music from
the International University of Andalusia and a Master of Education and New Technologies from the Madrid Open
University, UDIMA. He serves as a senior lecturer at the Jan Conservatory.

Isaac Manuel Francisco Albniz y Pascual naci en

Camprodn (Gerona) el 29 de mayo de 1860 en el seno de
una familia burguesa liberal. Su madre, Dolors Pascual,
era catalana, de Figueres. Su padre, llamado ngel, era
vasco, funcionario y un activo francmasn, condicin que
en algunos momentos ayud a Isaac a impulsar su carrera.
Albniz fue un autntico nio prodigio. Dio su primer
concierto a la edad de 4 aos y compuso su primera obra
a los 9. Desde muy joven, viaj por multitud de ciudades de
la geografa espaola y de Centroamrica acompaando a
su padre. Gracias a una beca que le otorg Alfonso XII
viaj a Bruselas, donde se gradu con las mximas
distinciones en 1879. Tras su graduacin retom sus giras
de conciertos tanto por Cuba como por Espaa.
El haber viajado de forma tan profusa durante su
juventud, hizo a Albniz tener una actitud abierta y
receptiva tanto a la tradicin musical centroeuropea como
a las diferentes manifestaciones del folklore espaol. Era
socialista y ateo y pensaba que Espaa se encontraba
atrasada culturalmente. En 1889 se estableci en Londres,
donde permaneci hasta 1893. Al principio empez a dar
conciertos, pero poco a poco comenz a volcarse en la
composicin. El estilo que ya exhiba Albniz por aquel
entonces no gustaba demasiado en Madrid, hasta el punto
que algunas de sus obras fueron tachadas de extranjerizadas. Tal como lo vea Albniz, solo poda renovar la
msica espaola fuera del pas. En 1893, tras abandonar
Londres fij su residencia en Pars, donde permaneci el
resto de su vida y donde comparti vivencias e intercambios musicales con dIndy, Dukas o Debussy. Tambin
fue el encargado de abrir el camino a otros compositores
espaoles, que luego terminaran triunfando en Francia,
como Joaqun Turina o Manuel de Falla.
En torno a 1900, el compositor espaol ms destacado
que se encontraba en activo en el extranjero era Albniz.
Su msica posee un equilibrio entre una tcnica de
composicin intachable y una expresin inequvocamente
espaola. Para lograr esta conjuncin, Albniz tuvo que
recorrer un largo camino que parte de sus primeros aos
como concertista y virtuoso del piano, al tiempo que fue

Julio Molina Garca

Musicologist and piano student of Juan Jos Mudarra
English translation by Susannah Howe

Juan Jos Mudarra Gmiz

8.573293

adquiriendo conocimientos tcnicos y tericos que le

permitieron aos ms tarde centrarse en su actividad
creativa.
Es en la segunda parte de la dcada de 1880 donde se
produce la metamorfosis del Albniz pianista virtuoso al
Albniz compositor. Podemos sealar tres periodos en su
trayectoria vital: uno primero (en el cual est encuadrado
este CD) muy relacionado con sus xitos como intrprete
donde compone msica de corte salonier, atractiva y
colorista; una segunda etapa en la que presta una mayor
atencin a los temas de raz folklrica; y una tercera y
ltima en la que, por influencia postromntica e impresionista, logra su estilo de plenitud y consigue sublimar todas
esas influencias y crear su estilo ms personal.
Albniz posee una vasta y variada produccin musical:
peras, zarzuelas, conciertos, canciones, rapsodias, etc.,
aunque muchas de ellas han sido ensombrecidas por su
produccin ms famosa: la msica para piano y en
especial Iberia (1905-1908), la suite que supuso el culmen
de su pianismo. A modo de breve resumen, podramos
decir que Albniz fue el encargado de llevar a la prctica y
de difundir por todo el mundo lo que Felipe Pedrell
abogaba en sus escritos.
La creacin de estos Siete estudios en los tonos
naturales mayores tuvo lugar en la primavera de 1886 y
cada uno est en un tono diferente, organizados por
quintas ascendentes (Do, Sol, Re, La, Mi, Si y Fa). En la
cubierta aparece primera serie, lo que sugiere que Albniz
podra tener la idea de continuar con ms estudios, quiz
compuestos en los tonos de las teclas negras del piano o
en los tonos naturales menores. Esa intencionalidad tonal
nos lleva a establecer paralelismos con las series que ya
hicieran Bach en El Clave Bien Temperado o Chopin en los
Preludios. Aparte de ser obras de una notable dificultad
tcnica, no son unos meros ejercicios mecnicos carentes
de expresin y musicalidad, sino que, por el contrario, ya
anticipan lo que ser el Albniz capaz de aunar la tradicin
centroeuropea con la ms puramente espaola. Fueron
dedicados a su compaero de estudios Jos Trag y a
Jess Monasterio.

8.573293

Las tonalidades que Albniz utiliza para la composicin

de Les Saisons (1892) tienen una estrecha relacin: la
mayor para la primavera, re mayor para el verano, la
menor para el otoo y re menor para el invierno. Su
primera publicacin tuvo lugar en Londres en 1892 bajo el
ttulo original de Album of Miniatures, cuyos 4 nmeros
llevan los nombres de Spring, Summer, Autumn y Winter.
Girod sustituye en su edicin el nombre original por el de
Les Saisons. Los nmeros contenidos en esta obra
representan unas breves pinceladas evocadoras de cada
estacin del ao y se podran considerar un antecedente
de las impresiones que pronto aparecern en la msica
francesa.
La Rapsodia cubana, segn Jacinto Torres, fue compuesta en 1881 y estrenada por el propio Albniz en el
teatro Avellaneda de La Habana en un concierto junto al
tambin pianista Manuel Jimnez. La primera edicin
impresa de la obra se produjo en 1886 y estuvo a cargo
de Antonio Romero, uno de los principales editores de
Albniz durante su carrera como compositor. Esta pieza se
encuentra en la tonalidad de sol mayor y posee un carcter
muy alegre, al tiempo que ana a la perfeccin el aire
caribeo con una tcnica virtuosa y gil.
La Suite Antigua n 1 est formada por dos nmeros:
Gavota y Minuetto. Fue compuesta en 1885 y estrenada
por el propio Albniz en 1886 en el Crculo de la Unin
Mercantil e Industrial de Madrid. Fue dedicada a su alumna
Trinidad Scholtz de Hermensdorff. La Gavota est dividida
en dos secciones, la primera de carcter marcial y la
segunda lrica y expresiva. Ambas partes se suceden en
una forma lied. El Minuetto est compuesto en la tonalidad
de la bemol mayor y junto con la Gavota fue vendido al
editor Carlo Ducci, a quien Albniz cedi los derechos para
el Reino Unido en 1889.

31/5/14

3:01 PM

Page 1

En la edicin impresa del Scherzo (1884) aparece como

perteneciente a la Sonata en la bemol, aunque no nos ha
llegado rastro de los dems movimientos que deban
completarla (cuatro en total). Este Scherzo fue dedicado al
Conde de Morphy, secretario del rey Alfonso XII y uno de
los mayores protectores y mecenas de Albniz. Esta obra
posee una primera parte de una energa y una fuerza
arrebatadoras y una segunda, en la que el lirismo y las
melodas cantabiles adquieren el protagonismo.
Las Dos mazurcas de saln (Amalia y Ricordati) las
podemos encuadrar dentro de la esttica de la msica de
saln de finales del siglo XIX. Forman parte de este gnero
musical todas las romanzas, serenatas, mazurkas, valses,
etc., y un sinfn de obritas breves que constituan el
repertorio de aquel pianista que deslumbraba y daba
clases a las nias de la sociedad ms acomodada. Fueron
publicadas por Benito Zozaya en 1888. Amalia fue dedicada a su discpula Amalia Loring de Silvela y Ricordati a
su esposa Rosa Jordana.
La partitura de LAutomne-Valse es otra muestra de
msica de saln y fue grabada en las planchas de los
talleres Manuel Salvat y editada por Puyol en 1890. En ese
mismo ao apareci tambin publicada en Londres a cargo
de la Stanley Weber, Lucas & Company. En la edicin
espaola lleva el nmero de opus 170 y su forma musical
podramos organizarla en tres partes, cada una de ellas en
una tonalidad diferente, a la que Albniz aadi una
introduccin de corte cromtico y una coda que contena
material de las diferentes secciones. Ms tarde esta obra
sera orquestada por el propio compositor para los
conciertos sinfnicos de su amigo Toms Bretn.

Photo of Juan Jos Mudarra Gmiz by Jose M. Valero

573293bk Albeniz5:New 6-page template A

SPANISH CLASSICS

ALBNIZ
Piano Music
Siete estudios Les Saisons
Rapsodia cubana Suite antigua No. 1
Juan Jos Mudarra Gmiz

Julio Molina Garca

Musiclogo y alumno de piano de Juan Jos Mudarra Gmiz

C
M
Y
K
5

8.573293

8.573293

Las tonalidades que Albniz utiliza para la composicin

de Les Saisons (1892) tienen una estrecha relacin: la
mayor para la primavera, re mayor para el verano, la
menor para el otoo y re menor para el invierno. Su
primera publicacin tuvo lugar en Londres en 1892 bajo el
ttulo original de Album of Miniatures, cuyos 4 nmeros
llevan los nombres de Spring, Summer, Autumn y Winter.
Girod sustituye en su edicin el nombre original por el de
Les Saisons. Los nmeros contenidos en esta obra
representan unas breves pinceladas evocadoras de cada
estacin del ao y se podran considerar un antecedente
de las impresiones que pronto aparecern en la msica
francesa.
La Rapsodia cubana, segn Jacinto Torres, fue compuesta en 1881 y estrenada por el propio Albniz en el
teatro Avellaneda de La Habana en un concierto junto al
tambin pianista Manuel Jimnez. La primera edicin
impresa de la obra se produjo en 1886 y estuvo a cargo
de Antonio Romero, uno de los principales editores de
Albniz durante su carrera como compositor. Esta pieza se
encuentra en la tonalidad de sol mayor y posee un carcter
muy alegre, al tiempo que ana a la perfeccin el aire
caribeo con una tcnica virtuosa y gil.
La Suite Antigua n 1 est formada por dos nmeros:
Gavota y Minuetto. Fue compuesta en 1885 y estrenada
por el propio Albniz en 1886 en el Crculo de la Unin
Mercantil e Industrial de Madrid. Fue dedicada a su alumna
Trinidad Scholtz de Hermensdorff. La Gavota est dividida
en dos secciones, la primera de carcter marcial y la
segunda lrica y expresiva. Ambas partes se suceden en
una forma lied. El Minuetto est compuesto en la tonalidad
de la bemol mayor y junto con la Gavota fue vendido al
editor Carlo Ducci, a quien Albniz cedi los derechos para
el Reino Unido en 1889.

31/5/14

3:01 PM

Page 1

En la edicin impresa del Scherzo (1884) aparece como

perteneciente a la Sonata en la bemol, aunque no nos ha
llegado rastro de los dems movimientos que deban
completarla (cuatro en total). Este Scherzo fue dedicado al
Conde de Morphy, secretario del rey Alfonso XII y uno de
los mayores protectores y mecenas de Albniz. Esta obra
posee una primera parte de una energa y una fuerza
arrebatadoras y una segunda, en la que el lirismo y las
melodas cantabiles adquieren el protagonismo.
Las Dos mazurcas de saln (Amalia y Ricordati) las
podemos encuadrar dentro de la esttica de la msica de
saln de finales del siglo XIX. Forman parte de este gnero
musical todas las romanzas, serenatas, mazurkas, valses,
etc., y un sinfn de obritas breves que constituan el
repertorio de aquel pianista que deslumbraba y daba
clases a las nias de la sociedad ms acomodada. Fueron
publicadas por Benito Zozaya en 1888. Amalia fue dedicada a su discpula Amalia Loring de Silvela y Ricordati a
su esposa Rosa Jordana.
La partitura de LAutomne-Valse es otra muestra de
msica de saln y fue grabada en las planchas de los
talleres Manuel Salvat y editada por Puyol en 1890. En ese
mismo ao apareci tambin publicada en Londres a cargo
de la Stanley Weber, Lucas & Company. En la edicin
espaola lleva el nmero de opus 170 y su forma musical
podramos organizarla en tres partes, cada una de ellas en
una tonalidad diferente, a la que Albniz aadi una
introduccin de corte cromtico y una coda que contena
material de las diferentes secciones. Ms tarde esta obra
sera orquestada por el propio compositor para los
conciertos sinfnicos de su amigo Toms Bretn.

Photo of Juan Jos Mudarra Gmiz by Jose M. Valero

573293bk Albeniz5:New 6-page template A

SPANISH CLASSICS

ALBNIZ
Piano Music
Siete estudios Les Saisons
Rapsodia cubana Suite antigua No. 1
Juan Jos Mudarra Gmiz

Julio Molina Garca

Musiclogo y alumno de piano de Juan Jos Mudarra Gmiz

C
M
Y
K
5

8.573293

8.573293

S
P
A
N
I
S
H
C
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A
S
S
I
C
S

Also available:

8.55431112

8.570553

8.572196

8.573294

8.573293

NAXOS

In the latest volume of this critically admired series, a number of rarely heard pieces from
Albnizs first compositional phase can be savoured. They were composed between 1881
and 1892 and reveal the variety and flair of which he was capable, even in the smallest of
musical forms, such as the delicious mazurkas. The Siete estudios (Seven Studies) are no
mere exercises rather they fuse the colour of Iberian music with the rigour of Central
European traditions. Les Saisons is an evocative portrait of the seasons and can be seen
as a forerunner of the impressionistic writing that would soon appear in French music.

SPANISH CLASSICS

8.573293
DDD

Isaac

Playing Time

Piano Music 5
Siete estudios en los tonos
@ Rapsodia cubana, T. 46
naturales mayores, T. 67
(1881)
(1886)
21:44
Suite antigua No. 1, T. 62
1 1. En Do
1:52
(c. 1885)

Les Saisons, T. 100, (1892) 10:37 ^ (1888)

Amalia
2:17

8 Le Printemps
9 Lt
0 LAutomne
! LHiver

8:37

4:50 # Gavota
5:07
3:33 $ Minuetto
3:28
4:20
% Scherzo (de la Sonata No. 1),
2:01
T. 57 (1884)
3:47
2:36
Dos mazurcas de saln, T. 87
2:18

3:10
2:34
2:29

& Ricordati
* LAutomne-Valse, T. 96

(1890)

9:09
4:09
4:58

11:51

NAXOS

Recorded at the Real Conservatorio Superior de Msica, Madrid, Spain, 67 July 2013
Producer & Engineer: David del Ro Robles Publishers: Unin Musical Espaola (tracks 17, 1214,
1718); P. Girod (810); G. Schirmer, Inc. (11); Casa Dotesio (1516) Booklet notes: Julio Molina Garca
Cover photo: Beech forest in autumn, Otzarreta, Spain (Irantzu Arbaizagoitia / Dreamstime.com)

C
M
8.573293

Juan Jos Mudarra Gmiz, Piano

& 2014
Naxos Rights US, Inc.
Booklet notes in English
Comentarios en espaol
Made in Germany

2 2. En Sol
3 3. En Re
4 4. En La
5 5. En Mi
6 6. En Si
7 7. En Fa

5:00

ALBNIZ Piano Music 5

71:03

(18601909)

www.naxos.com

ALBNIZ Piano Music 5

ALBE NIZ

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