I can somehow feel Albéniz’s character when left hand melody comes in?

[blank] just a little practice, my friend. 🙂😎

Another interesting thing is that unlike the score which calls for an octave jump after the chord figure, one can clearly hear Alicia playing an F# instead. I imagine she did this to facilitate an easier transfer for the hands, and a smoother sound. I think it's an appropriate adaptation, especially considering that this music was originally written for guitar and not piano.

@@ninjaassassin27 no, this was actually originally written for piano but the guitar version got more popular.

Just started learning this and jumping around the cords so difficult

@@ninjaassassin27confidently incorrect

Estic d'acord amb vostè. Com Alicia de Larrocha no hi haurà altra. Però lo que es cert es que el seu art brillara sempre

Ara ja la coneix, mister

Jo també

No se entera usted de nada.

Sorry, there was some trouble with the audio and I couldn't make anything to fix it.

it's my pleasure! thanks for watching :)

Uso el Sony Vegas Pro 11.0 :)

Muchísimas gracias

It's not that difficult! If you have a certain level you should really give it a try.

Demonioshock 9:22 If you listen to this and then to "Cuba" from "Suit Espangole" (you can listen to it on KZfaq) you will notice they're quite similar. I wonder which one was composed first. But yes, Prelude and Asturias are the same. Cheers!

Hasta donde yo sé, Cuba se compuso antes (alrededor de 1883). Los Cantos de España con Bajo la palmera no aparecieron hasta 1894. A lo largo de su obra, Albéniz tomó bastantes referencias de la primera Suite Española para lo que compondría después (buen ejemplo es, como decían, Asturias y el Preludio). Sin embargo, es cierto que hay bastante caos en la clasificación de obras de Albéniz, así que no sabría decirte con certeza cuál fue antes. Espero haber sido de ayuda :)

The original is for the piano and it was later rearranged by other musicians for the guitar

Although the first suite "Suite española n.º 1" dates back to 1883, it wasn't compiled as we know it today until 1911, after Albéniz's death. The original suite only contained Granada, Sevilla, Cataluña and Cuba, and editors decided to create Suite española n.º 1 with some Albéniz's previous and individual works, which were not even called the way they are now (Asturias, for example, was just called "Prelude" and its inspiration has nothing to do with Spanish region Asturias - Albéniz would've never called it that way). Same thing happened to Castilla (named "Seguidilla" and also present in Cantos de España), Cádiz (formerly called "Serenata española" Op. 181) and Aragón (Danza española n.º 1 from "Dos danzas españolas" Op. 164).

4:15

she

As Beethoven (or whoever) said: to play a wrong note is insignificant; to play without passion is inexcusable!

oh it's beautiful =D She*** did a wonderful job

It was Beethoven, yes

El rock és molt variat, aquí tens als Iron Maiden inspirant-se amb aquesta mateixa peça d'Albéniz a To Tame a Land: kzfaq.info/get/bejne/hdp3aMWJq5aoioE.html

:(

Are you talking about the accent on the downbeat on the A?

I am thinking this may have been a live performance, noticing some background sounds. The taking of the lower octave is a Romantic throwback, which some are critical of, eg, Leon Fleisher didn't like that kind of thing. It is done here and there with Chopin, Schumann... the latter eg at the end of the 2nd movement of the Fantasy, Op 17. De Larrocha studied with Frank Marshall who studied with Granados, and eventually Marshall replaced Granados at the conservatory. I wonder if the lower octave liberty was perhaps something Granados or Albeniz may have done, or been Ok with at least. In any event, De Larrocha is such an impeccable player of Bach and Mozart as well, and I'd bet she'd never take such liberties with those guys.

Nonsense? What a ridiculously silly reaction. It’s a performance tradition. Hardly a crime to deviate.