GRANADOS, Enrique
Goyescas, o Los majos enamorados for piano
3. El fandango del candil
Luis Fernando Pérez, guest professor
Arturo Abellán Sánchez, student
L. F. Pérez contextualizes this piece by Granados: fandango “maldito”, description of staging, taking into account the history it contains and the importance of rhythm.
The singing parts in Granados are elongated and expressive: with sound and tension.
The initial staccato should produce fear, not laughter: the character is a “chungo”, a pimp.
Spanish singing is passionate and open: use of the thumb in the 8th (important technique for the sonority required by Spanish music) and highlight the 1st note in the ornaments.
Continuous recommendations regarding the use of the pedal. Do not be strictly guided by the Urtex edition: Spanish music may require more nuances than those written. Execution of the accents: expressive support and always recommends on the 1st note, not the last.
Harmonically, Goyescas is a work with few chords, the professor identifies a point where they occur characteristically so that they do not escape the student and highlights them not abruptly but with emotional tension (navajero). The professor also asks him to take care of the preparations (they do not make sense if it is not to reach a point), and the phrasings. Do not rush.
The professor emphasizes the way of realization and character of the different accents, and also insists on not accentuating the tonics so much.
Mention of Alicia de Larrocha: she used the indication “con expansión” a lot in Granados. One must tend to stretch everything expressively but naturally.
Attention to the harmony at a certain moment (highlight the modulation), and a certain part like a guitar, and that they all sound. At a certain point the student has to work and bring out a little of his feminine side, more sensual, because it is precisely more difficult for him because it is not his nature. Indications on breathing. Suggestion of fingering for a certain part. Clarity of execution at a certain very beautiful and fine moment: it is very difficult and it is advisable to think about the left hand to avoid it being delayed with respect to the right.
He points out a certain wrong note in the right hand. In conclusion, the student can play it very well but needs to develop his expressiveness, especially when interpreting the character of Rosario, and think about the harmony (not always cheerful, it can have a lot of nostalgia and pain).
Language: Spanish
