Pleasant enough in their own ways: “Danzas Cubanas” by Ignacio Cervantes (a certain charm and sly wit) “Epigrama” by Aurelio de la Vega, and “Dos Piezas” by Miguel Roldan. By turns languorous and limpid, folksy and Stravinskyan, it bears repeated hearings, especially when played this colorfully. Enrique Granados Instrumentation : Piano solo Style : Romantic Date : 1903 Copyright : Public Domain MP3 performed by Benoit. She had a vehicle worthy of her abilities in the “Choros” No. According to Granados: ‘The final chords are struck in short bass notes that represent the renunciation of happiness.’ In the concluding movement, ‘Epílogo, serenata del espectro’ (‘Epilogue, the ghost’s serenade’), the spirit of the departed majo appears in a macabre vision, serenading his beloved on a ghostly guitar. Choral et variations Ji Youn Lee, piano SAMUEL BARBER Violin Concerto, Op. 1 Its lyricism and technical brilliance, reminiscent of Franz Liszt, have made it one of the composer's most popular works. 2 in B Major Juan Sebastian Avendaño, piano HENRI DUTILLEUX Piano Sonata, Op. 46, is a virtuosic showpiece for piano by Enrique Granados, composed between 19. Grave Paige Griffin, violin GABRIEL FAURÉ Nocturne No. GRANADOS Allegro de Concierto by concert pianist Stphanie ELBAZThe Allegro de Concierto op 46 in C-sharp major is a bravura showpiece written by the Spanish. any relation to the advertised programme, and individual works were souped up. Any lack of persuasiveness was solely in the work, not in the playing of Fernandez. 46 Harris Andersen, piano JOHANN SEBASTIAN BACH Sonata No. Allegro de Concierto with Applause, Book 1 Buy both for 24.94 Customers Who Bought Allegro de Concierto Also Bought: The Piano Music Of Heitor Villa-Lob. The “Allegro de Concierto” by Granados delivers cascades of notes, but no memorable melody. Enrique Granados and Manuel de Falla, whose most well-known music was. Unfortunately, not all of the music proved her equal. Permian Basin String Quartet Program Notes - Catalyst Midland-Odessa Symphony. The remainder of the program, devoted to all manner of Latin composers, proved that lack of power per se is not by any means a general flaw in her playing. The two C-sharp-minor etudes by Chopin provided most of what one would hope for, except perhaps a bit more power in Opus 10. Liquid, rich, dark and effortless lyricism flourished in this theme and variations.
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