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Transcripciones 2


Reg.: B.3314

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  • Arrangement: GRANADOS, Enric
  • Review: LARROCHA, Alicia de
  • Ensemble: Solo.
  • Genres: Classical / contemporary: Arrangements and Transcripts; Solos.
  • Product format: Partitura
  • Difficulty level: Advanced-superior
  • Period: Baroque
  • Publishing house: Editorial Boileau
  • Collection: Enric Granados
  • No. of pages: 128
  • Measure: 31,00 x 23,00 cm
  • Lenght: 64'10"
  • ISBN: 978-84-8020-688-4
  • ISMN: 979-0-3503-0059-2
  • Available in digital: No
  • Available for rent: No

Volumes 13 and 14 of this edition comprise all of those works which Granados transcribed, arranged, completed or adapted based on his own works or works originally written by other composers.

During the second half of the 19th Century and part of the 20th Century composers frequently made transcriptions for piano of works written by others.  The conjunction of two important social circumstances led to a significant demand for piano transcriptions:  the diffusion of the piano as the leading musical instrument in homes  coupled with the public’s desire to have the opportunity to listen on repeated occasions in their homes to music that was originally composed for the concert hall, such as symphonic works or operas.  Some of the notable transcriptions made for piano were, to cite only a few examples, transcriptions by Busoni and Brahms, respectively, of works for organ and violin by Bach and Liszt’s transcriptions of operas by Mozart, Bellini and Verdi.  Many composers arranged some of their own orchestral works for piano solo, for example the Holberg Suite by Grieg and Granados’ El jardí d’Elisenda (Elisenda's Garden).

Granados was not especially prolific as a transcriber.  Nevertheless, in his brilliant and almost virtuostic transcriptions for piano of the 26 Sonatas for clave by Doménico Scarlatti Granados demonstrated himself to be an intelligent transcriber for modern piano literature of the original version composed for the harpsichord.  Granados arranged for piano solo the first movement of his suite Elisenda, El jardí d’Elisenda, originally scored for chamber orchestra, voice, piano and harp. Azulejos was left unfinished by Granados’ close friend Isaac Albéniz at the time of his death.  Albéniz’ widow asked Granados to complete the work, in which he demonstrated his ability to capture perfectly the style of Albéniz. Although it is not a transcription but rather a completion, Azulejos has been included here along with Granados’ other transcriptions. Granados transcribed for 2 pianos Albéniz’ Triana, from the Suite Iberia. However, Granados’ transcription of Triana has not been included here with his other transcriptions due to its importance as a 2 piano work. Triana is published in Vol. 17 along with Granados’ works for piano four hands. The present volume does however include Granados’ harmonisation of Marcha Real, which is also published in Juveniles 3, Vol. 7. 

Veintiséis sonata de Doménico scarlatti (XIV-XXVI) (63'08")
Azulejos (10'01")