Thomas Rüedi Solo Series
M A DR IG A L ENR IQ UE GR A NA DOS (18 67 –1916)
SOLO WORK NO
Transcribed for Euphonium by
Thomas Rüedi Solo Series
M A DR IG A L E N R IQ U E GR A N A D O S (18 67 –1916)
Transcribed for Euphonium by THOMAS RÜEDI
PREFACE THE WORK
«Madrigal» written in 1915, is originally for cello and piano; written during his last compositional period, referred to as his «Goya» period. This period is defined by his leaving of his more nationalistic writings in the Spanish style he is well known for. While «Madrigal» doesn’t sound as particularly Spanish as his earlier works, a Spanish flavour remains present as does Granados’ compositional fingerprint of writing music that sounds like or inspires improvisation. Spanish music of this time is famous for its flamboyant use of decorative ornamentation. «Madrigal» relies heavily on elegant melismatic lines, but what separates this piece and Granados’ music from his Spanish contemporaries, is his ability to orchestrate melismas with restraint and taste.
«Madrigal» is composed utilizing a variation of the traditional madrigal form from the late Renaissance and early Baroque referred to as modified strophic form. Typical strophic form is a simple repetition of music, but with changed lyrics for each repetition of the material. The formal structure looks like this: A-A-A… In modified strophic form each repetition also has new development or variations in the material presented. This formal structure looks like this: A-A’-A’’... This form functions like an early version of the theme and variation form. Madrigal has a unique structure: A-(interlude)-A’-A’’, where Granados composed a short interlude before reintroducing the first modification of the A theme. A’ simply repeats A and then is expanded upon. A’’ is almost entirely new material with only modest use of short motifs from the A theme. Granados also utilizes the technique of a Picardy Third, where a section or whole piece is in minor, but it resolves with a major third. This technique was often used in the time of the late Renaissance and Baroque. Even notable composers such as J.S. Bach have used it. It generally fell out of favour in the late Baroque. Granados’ use of it in this form is certainly authentic.
Improvisation was very important to Granados and his music. Even though the notes are written out, try to be free enough as to make it sound improvised. Sometimes it might help you and your collaborative pianist to think of the piano part as though it would be played on harp or guitar. «Madrigal» explores many different colours and atmospheres; a flexible approach to sound and colour can be just the thing to add another dimension to the music. This music is fluid and alive; every line and phrase has a direction and momentum.
This arrangement was left in the original key of A minor. Some passages have been moved down one octave at logical places so as not to disturb the musical line and so it fits within the range of the euphonium. In bar 61, you will notice an optional part was added if the register shift down to pedal C is too extreme for the player. Discretion is the better part of valour, and if the pedal C proves inconsistent or a good singing sound can’t be produced in the low register, play the optional part one octave higher.
á July 27, 1867 in Lérida, Spain † March 24, 1916 at Sea, English Channel Enrique Granados, a notably humble, gentle man, was a celebrated pianist, composer and teacher throughout Spain and the western world. His solo recitals, which were mostly comprised of his own music, were heard throughout Europe and the US. As a young piano student, he learned to improvise on simple tunes, and the interest of improvisation stuck with him throughout his performance and compositional careers. Despite the success of his Opera «Maria Del Carmen» before the turn of the century, he wasn’t viewed as a serious composer until the success of the piano work «Goyescas» in 1911. «Goyescas» is a six movement work based on the paintings of Francisco De Goya. After a tour in the US, he was asked last minute to perform for Woodrow Wilson, the President of the United States, at the White House. The delay in the schedule caused him to miss his boat back to Spain. He and his wife then took one to England. From England, they boarded the «Sussex» to cross the English Channel to go to France, when it was torpedoed by a German U-boat. Granados, who had a life-long fear of water, jumped overboard to save his wife who was flailing in the sea. Tragically, both were lost, leaving six children behind. Worthy of noting, as a prominent figure in Spanish music, he is named by both Pablo Casals and Manuel De Falla as being an important influence in their lives and musical careers.
1896 His very popular opera «Maria Del Carmen» was premiered in Madrid. 1901 Founded his own music school, «Academia Granados» 1911 «Goyescas», his most famous work was premiered to instant critical acclaim.
Thomas Rüedi Solo Series
The Thomas Rüedi Solo Series is a collection of selected masterpieces arranged for euphonium and piano. This series strives to enrich the solo repertoire for euphonium, thus opening a window into the fascinating world of some of the leading composers of the Baroque and Romantic period. By studying these famous works, the performer develops a more profound musicianship and a more defined awareness of style and musical beauty. Audiences in turn, may appreciate hearing these beloved masterpieces performed in a fresh voice – the wonderful lyrical expression of the euphonium!
Sonata for Arpeggione - First Movement Romantic
Les Larmes de Jacqueline Romantic
Tchaikovsky, Pytor Ilyich
Andante Cantabile Romantic
De Falla, Manuel
Ritual Firedance Romantic
Moments Musicaux Romantic
Four Short Pieces Romantic
Sonata No. 1 in D minor Baroque
Sonata No. 1 in G major Baroque
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THOMAS RÜEDI is a Swiss-born international euphonium artist, music educator and arranger. His solo engagements have led him throughout Europe, Africa, Asia, South America and the USA. Thomas Rüedi’s solo CDs «Elégie» and «Madrigal», both featuring his own arrangements, received international recognition. Thomas Rüedi is professor of euphonium and chamber music at Bern University of the Arts and Lucerne University of the Arts; as a guest professor he regularly gives master classes throughout Europe and overseas. Thomas Rüedi is also an acclaimed arranger and composer, thus supporting the further development and enrichment of the euphonium repertoire.
THOMAS RÜEDI is a BESSON performing artist.
Thomas Rüedi Solo Series Werkbeschreibung (ohne Noten)