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Piano, Vol. 2


MALATS, Joaquim

Reg.: B.3712

21,00 €
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  • Review: MESTRE, Melani
  • Ensemble: Solo.
  • Genres: Classical / contemporary: Arrangements and Transcripts; Solos.
  • Product format: Partitura
  • Difficulty level: Intermediate-advanced
  • Period: 1st half S. XX
  • Publishing house: Editorial Boileau
  • Collection: Joaquim Malats
  • No. of pages: 68
  • Measure: 31,00 x 23,00 cm
  • ISMN: 979-0-3503-1038-6
  • Available in digital: No
  • Available for rent: No

The catalogue of Malats’ compositions cannot be judged on the basis of number of works contained in it. In fact, the list of his works is actually quite small. However, they are not less interesting that those of his contemporaries Albéniz and Granados. Malats’ piano works are the most representative of his compositions for the obvious reason that the piano was his instrument. As an interpreter educated in the most thorough Romantic tradition, Malats represented the archetypical complete musician of the 19th Century: pianist, composer, interpreter of his own works, and teacher.

For this reason most of his works were written for the piano, both those works which survive today as well as those which, although known, have been lost or not yet recovered. 

Although on the original cover of the suite Impresiones de España (Impressions of Spain) (Source: it is found in the Biblioteca Nacional de España), there was an indication that the work was for orchestra, in reality it is a collection of four pieces for piano. Only the first two were published together: Danza (Dance) and the famous Serenata Española (Spanish Serenade). The other two pieces of the suite, Canto de Amor (Love Song), of which there is also a version for violin and piano, and Serenata Andaluza (Andalusian Serenade). Although published separately, these two works were performed together in various concerts by Joaquim Malats as part of the Suite Impresiones de España. In the first edition of the suite, published by the Editorial Zozaya, Madrid, at the beginning of 1890, the work was dedicated to the great author and personal friend of Malats, Benito Pérez Galdós. The Serenata Andaluza was performed on September 22, 1891 at the Salón Érard in Barcelona. The work was re-published in Barcelona the following year and, in spite of the prior dedication to Pérez Galdós, the Barcelona edition was dedicated to Señorita Pepita Payerols. This piece was the fourth movement of Impresiones de España. The third movement, Canto de Amor, was dedicated to the well-known Catalan composer and pianist, Claudio Martínez Imbert, and was published in Madrid by Zozaya in 1898. The work was performed in a program dedicated exclusively to the music of Malats at the Ateneo in Madrid on September 21, 1896.

The Suite para piano solo (Suite for Piano Solo) (Source: the original manuscript is found in the Biblioteca de l’Orfeó Català, Palau de la Música Catalana de Barcelona), is an unpublished work which appears to have never been performed. In the present edition the first three movements are published for the first time. The original manuscript of the work is preserved in the Library of the Orfeó Català at the Palau de la Música Catalana in Barcelona. Originally the suite contained four movements: Prelude, Berceuse, Lied and Serenade. The final movement has been lost. The suite is dedicated to the great composer and pianist from Lleida, Enrique Granados, close friend and colleague of Malats in Barcelona and Paris. 

An example of the way Malats combined his creative and interpretive activities are his two Cadenzas written for the first and third movements of the Concerto for piano and orchestra, No. 15 in B Flat Major, K.V. 450 by W. A. Mozart. The cadenzas were composed in 1896 and 1897 in Madrid and Paris. Malats performed this concerto throughout his career and premiered it in Spain on October 10, 1896 in Madrid under the direction of Jesús de Monasterio. It is thought that in this concert Malats improvised the cadenzas. The premiere in Barcelona was directed by A. Nicolás and took place on February 15, 1897 at the new Sala Estela.

The preservation and first publication of two cadenzas for a Mozart Concerto written by the most brilliant Spanish pianist of the 19th Century is without precedent in Spanish musical history. This type of composition is hardly known in Spain much less preserved. Source: the original manuscripts were donated by Malats’ widow to the Escuela Municipal de Música de Barcelona (Municipal Music School of Barcelona), today the Conservatori Municipal de Música (Municipal Music Conservatory). At the present time the manuscripts are preserved in the Archive of the Academia Marshall, formerly Academia Granados, in Barcelona.

As commented in this Preface and easily seen from a study of his compositions and concert career, Malats was an exceptional musician, one of the most eclectic of his generation. Consequently, his interest in transcriptions and arrangements of orchestral works, or works for other instruments, for the piano is not surprising. An example of his ability as a transcriber is his Piano transcription of the 3rd movement. Source: the original manuscript was donated by Malats’ widow to the Escuela Municipal de Música de Barcelona (Municipal Music School of Barcelona) of the Concerto for Violin and Orchestra by Felix Mendelssohn. Unfortunately there is no indication in any concert program nor in press articles that this work was ever performed. Although there is no known autograph manuscript of this piece which would have been dated, the work has survived though has survived through an edition published by Dessy S. en C.

During the preparation of this edition we have utilized current musicological and technical criteria in order to make the scores as clear as possible. In addition, we have corrected a considerable number of errors found in the first editions as well as in the original manuscripts, when available. 


Suite Impresiones de España:
I. Danza
II. Serenata española
III. Canto de amor
IV. Serenata andaluza

Suite pour piano:
I. Prélude
II. Berceuse
III. Lied

Cadències del Concert per a piano i orquestra en Si bemoll Major, núm. 15, KV 450 de W. A. Mozart:
Cadència del 1r moviment
Cadència del 3r moviment

Transcripció del 3r moviment del Concert per a violí i orquestra en Mi menor, op. 64 de Felix Mendelssohn
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