- Title
- Sevilla from Suite Espanola
- Original Title
- Sevilla from Suite Española op.47
- Composer
- Albeniz, Isaac
- Year
- 1886
- Editor
- Arranger
- Snedeker, Jeffrey
- Year Arranged
- 2002
- Original Instrumentation
- Piano
- Type of Arrangement
- 2
- Availability
- 1
- Publisher
- Hornists Nest
- Year Published
- 2002
- Catalogue Number
- HN 86
- Sheet Music Format
- A4, Score (6) & parts (4x3=12)
- Horns
- 4
- Additional Equipment
- Others
- Other Instruments
- Difficulty
- 1
- Duration
- 6
- Structure / Movements
- One movement. Allegretto
- Clefs
- Treble, bass
- Meters
- 3/4
- Key signatures
- 2#, 2b, 3#
- Range
- Horn 1: g - c3 Horn 2: d - a2 Horn 3: A - a2 Horn 4: A - d2
- Creator's Comments
- Isaac Albeniz (1860-1909) was a Spanish composer and pianist. His primary musical studies took place at the Brussels Conservatory, and he also studied piano and composition with Liszt, Dukas, and D’Indy. His compositional style was a logical outgrowth of virtuoso piano technique, made up of three parts: Spanish folk music, salon music, and impressionist harmonies. He spent some time in Paris and knew Debussy and Ravel, but, being older tan they were, may actually have contributed to their impressionist directions, rather than being influenced by them. His piano music is very folk oriented, with many figures reminiscent of guitar music, and the quality (and sheer bulk) of his work form the foundations of Spanish piano music in the 19th and 20th centuries. He wrote over 250 pieces and is best known for his Suite Iberia (1906-1908). Most of his works are descriptive, portraying scenes, moods, and dances. Sevilla appears in a collection of piano pieces, Suite Espanola, (1886), written while Albeniz was living in Madrid. I have known the piano and guitar versions of the piece for a long time, and strongly recommend study of a recording of the guitar version for help with tempo and pacing, especially in the cadenzas. I find that this arrangement works bets when played as fast as possible without sacrificing ensemble of losing a bright but comfortable feeling. Articulation (especially when playing accompanying lines0 should be clear but flowing, not too short nor so hard as to be out of balance or to bog down the tempo. Think of plucking the strings on a guitar with a resonant sound. Cadenzas should be very free, and full of passion and drama.
- Performance Notes
- See comments above, and look for a piano or guitar recording of this piece, to get an idea of what it sounds like. The key is original, so it is even possible to play along.
- Credits
- Access to review score: Nancy Joy (NMSU)
- External Link
- http://www.hornistsnest.net/
- Sound
- Score