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Lavapiés

2 Pianos

ALBÉNIZ, Isaac

Reg.: B.3732

20,90 €
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  • Arrangement: LARROCHA, Alicia de
  • Review: CURBELO, José María; CURBELO, Óliver
  • Ensemble: Duos: .
  • Genres: Classical / contemporary: Chamber.
  • Product format: Partitura
  • Difficulty level: Advanced-superior
  • Period: 1st half S. XX
  • Publishing house: Editorial Boileau
  • Collection: Siglo XXI
  • No. of pages: 40
  • Measure: 31,00 x 23,00 cm
  • Lenght: 7'30"
  • ISMN: 979-0-3503-1966-2
  • Available in digital: No
  • Available for rent: No

This transcription for two pianos of Lavapiés, from the third book of Iberia, by Albéniz, was made by Alicia de Larrocha in 1946 (she was 23 years old) and was first performed with Juan Torra, who became her husband only a few years later, in a two-piano recital at the Casa del Médico in Barcelona on October 6 of that year.

Around that time Alicia de Larrocha and Juan Torra performed a number of two-piano recitals playing a varied repertoire including original works by Mozart, Schumann, Ravel, Saint Saëns, etc., as well as Concertos for piano with the orchestral part arranged for a second piano.

This transcription, revised and published here for the first time, is a welcome addition to the series of transcription for two pianos of several masterpieces by Isaac Albéniz. These transcriptions were each made by pianists who had directed the Academia Granados and, later, the Academia Marshall (the name of the Academia Granados was changed in 1920). This version of Lavapiés by Alicia de Larrocha was made only nine years after the transcription for two pianos that Frank Marshall made of Navarra, which followed the first of these transcriptions made by Enrique Granados of Triana during the first decade of the 20th Century.

The current transcription is completely faithful to the original version for piano solo. Here, the music is distributed polyphonically between the two pianists which makes for more clarity of the voices and also allows for greater sonority. In some cases the harmony has been enriched by doubling certain notes and the addition of other chord notes to balance the sonorities between the two pianos. The equal distribution of the melodies between the two pianos produces an interesting dialogue. 

NOTES ON THE EDITION

Most of the additional indications in this transcription were found in the score of Piano II. All of these added articulations, pedal, dynamic and expressive indications have been added to the score of Piano I. In addition, some errors and omissions have been corrected based on the original version for solo piano.

As students of Alicia de Larrocha at the Academia Marshall, we have made a few small modifications based on notes made during our lessons on this work, both in the version for piano solo and in addition to the transcriptions by Granados and Marshall of Triana and Navarra. These modifications facilitate performance and the interweaving of the melodies between the two pianos. However, we have thoroughly respected the original score of Alicia de Larrocha. 

However, we suggest that performers consider adding notes an octave lower in certain cases to give solidity to the performance. It is important to follow the pedal indications, but with subtle gradations, so as not to loose the clarity of the voices nor the indicated articulations. 

Óliver and José María Curbelo