Enrique Granados (1867-1916) is one of the most compelling figures of
the late-Romantic period in music. During his return voyage to Spain
after the premiere of his opera Goyescas in New York, a German submarine
torpedoed the ship on which he and his wife were sailing and they
perished in the waters of the English Channel. His death was mourned on
both sides of the Atlantic as a stunning loss to the music world, for he
had died at the pinnacle of his career and his late works held the
promise of greater things to come. While Granados's tragic demise casts a
pall over his life story, author Walter Clark reveals an artist of
remarkable versatility and individuality and sheds new light on his
enduring significance.
5/19/2013
Enrique Granados: A Bio-Bibliography (Bio-Bibliographies in Music) - C.A.Hess - 1991
The biographical study, the first in English, draws on primary sources
in English, Spanish, French, Catalan, and other languages. This material
is carefully documented in the extensive annotated bibliography along
with contemporaneous and recent analytical studies and other sources.
Granados's oeuvre presents cataloging problems due to his habit of
reworking pieces, long-delayed publication, and arbitrary opus numbers.
In the Works and Performances section, however, every effort has been
made to offer publication dates, manuscript locations, and information
on premieres. Representative arrangements of his works by other
composers are also given. An appendix classifies the works by scoring. A
selective discography is also provided, and all parts of the volume are
fully cross-referenced and indexed. Granados is placed in the context
of the international artistic scene at the turn of the century, and a
chronology notes related events.
Abby Whiteside on Piano Playing : Indispensables of Piano Playing - Mastering the Chopin Etudes and Other Essays - 2003
Abby Whiteside (1881-1956) developed a revolutionary approach to piano
technique, the idea of a "basic rhythm" involving the entire body that
allows students to express the essential emotional rhythm of the music,
as well as to play without the risk of the injuries that frequently
afflict pianists. Her ideas on piano pedagogy remain essential today.
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