No. 4: Villanesca


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Enrique Granados

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Track Listing. Here, the pianist was blazing with loud octaves, occasionally simmering her playing to create an almost magical dynamic contrast. Four more Scarlatti sonatas opened the second half starting with playful A major K.

12 Danzas españolas: No. 4, Villanesca

Hewitt, once again, showed her excellent guitar emulation technique. The final sonata on the program was the G major K.

Enrique Granados | Danza Espanola No 4 Villanesca | power tab @ weenssefireli.tk Guitar Tabs Archive

Her fingers were so fast that there were a few instances in the repeat of the main theme where the hammers simply did not have enough time to bounce back which she compensated for by using the pedal for continuity. The most difficult piece of her programme was still to come though. With the melody constantly changing, harmonies transitioning among various ethnic influences, it is hard enough to keep up with the music for a listener, let alone the performer.

Ms Hewitt triumphed through the music however, brushing away the glissandi, thumping on the pedal and made the music sound even more beautiful than de Falla possibly intended. This truly outstanding recital ended with a single encore: a piece which Ms Hewitt called her favorite Scarlatti sonata: the E major K.

Our privacy policy was last updated on Monday 24 June View it here Dismiss. Twitter Google Facebook. Remember me Sign in Lost password? Register with email address. Video Video home Live streams On demand Concerts home. Program Notes Villanesca is the fourth selection in a collection for piano entitled 12 Spanish Dances Op.

E. Granados – Danza Española No. 4 (Villanesca)

Like many of his compositions, this set of pieces, written in , helped further his ambition to bring the Spanish folk idiom to the attention of the contemporary European music establishment. With the style and tempo indication Allegretto alla pastorale , this is a playful and simple, yet somewhat stately, dance movement.

The solo vibraphone briefly interrupts the otherwise consistent pulse on a few occasions during multiple statements of the primary and secondary themes. Eventually the work slows and fades away into a beautifully plaintive four-voice chorale marked Molto Andante. The original dance returns for a brief reprise before slowing and fading again into a final D major chord.

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No. 4: Villanesca No. 4: Villanesca
No. 4: Villanesca No. 4: Villanesca
No. 4: Villanesca No. 4: Villanesca
No. 4: Villanesca No. 4: Villanesca
No. 4: Villanesca No. 4: Villanesca
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