스페인 모음곡_바루에꼬

Isaac Albeniz(1860~1909, Spain)의 <스페인 모음곡(Suite Española)>을 구성하는 8개 곡의 이름은 모두 스페인과 라틴아메리카를 포함한 지명으로 되어있고 각 곡마다 부제가 따로 붙어있다. 다음은 <스페인 모음곡>의 구성이다.

 

1. Granada (Serenata) 2. Cataluña (Corranda) 3. Sevilla (Sevillanas) 4. Cadiz (Cancion) 5. Asturias (Leyenda-Preludio) 6. Aragon (Fantasia) 7. Cuba (Capricho) 8. Castilla (Seguidillas)

 

Manuel Barrueco는 우리 시대 탁월한 대가 중의 한 사람이다. 1952년생으로 쿠바 출신이며 현재 미국 Peabody Conservatory의 교수이다. 일본 동경문화회관에서의 연주 실황이 담긴 VHS 테입을 십 수년 전에 거금(?)을 주고 샀다. 오랜 시간 방치하다시피 했는데, 이제야 꺼내서 디지털로 뜨고 화면을 약간 조절하여 인코딩을 해 봤다. 허접한 유튜브 화면 보다 월등히 화질이 나으니 귀차니즘이 나름 보상받은 것 같다는...

 

Barrueco의 견고한 손가락과 군더더기 없이 안정된 운지는 무한히 부러울 따름이다. 대부분의 대가들은 일단 손가락 생김새부터가 좋은데 Barreco의 손가락은 그의 연주스타일과 음질만큼이나 특히 더 견고한 것 같다. (동영상의 순서는 실제 연주회의 연주 순서에 따른 것임)

 

제6곡 Aragon (Fantasia)

 

제7곡 Cuba (Capricho) 

 

제4곡 Cadiz (Cancion)  

 

제5곡 Asturias (Leyenda-Preludio) 

 

제8곡 Castilla (Seguidillas) 

 

제1곡 Granada (Serenata)

 

제2곡 Cataluña (Corranda) 

 

제3곡 Sevilla (Sevillanas) 

 

아래는 Wikipedia의 <스페인 모음곡> 설명 

 

<Suite Española>

Albéniz’ Suite Española Op.47 is comprised mainly of pieces written in 1886, and grouped together in 1887 in honor of the Queen of Spain. Like many of Albéniz' piano pieces, these works are miniature tone pictures of different geographical regions and musical idioms of Spain. The eight original titles are Granada, Cataluña, Sevilla, Cadiz, Asturias, Aragon, Castilla and Cuba but only the first three titles and Cuba appeared in the original collection. The other pieces were published in later collections, often with different titles. The publisher Hofmeister published all eight titles of Suite Española in 1911 after Albéniz’ death, appropriating other pieces for the other four titles so those pieces do not always accurately reflect the geographic designation of the titles, most obviously in the case of Asturias (Leyenda) whose Andalusian flamenco rhythms bear little resemblance to the music of the northern province Asturias. The opus number 47 assigned by Hofmeister has no relation to any chronological order in Albéniz’ oeuvre, in which opus numbers were randomly given by publishers or by Albéniz himself, with some pieces appearing in more than one collection.

 

In these works the first title refers to the geographical region portrayed, and the title in parentheses is the musical form or dance from that region. From Granada in Andalusia we have a Serenata, from Catalonia a Curranda or Courante, from Sevilla a Sevillanas and from Cuba (which was still part of Spain in the 1880’s) a Notturno in the style of a habanera, from Castilla a Seguidillas, from Aragon a Fantasia in the style of a jota, and from Cadiz a Saeta. This last example, like Asturias/Leyenda, is geographically inaccurate. Despite the spurious nature of the Suite Española Op.47 it has become one of the most performed of Albéniz’ piano works, a favorite of both pianists and audiences.

 

Perhaps the best source on the works is Albéniz himself. He is quoted as commenting on his earlier period works as, “there are among them a few things that are not completely worthless. The music is a bit infantile, plain, spirited; but in the end, the people, our Spanish people, are something of all that. I believe that the people are right when they continue to be moved by Cordoba, Mallorca, by the copla of the Sevillanas, by the Serenata, and Granada. In all of them I now note that there is less musical science, less of the grand idea, but more color, sunlight, flavor of olives. That music of youth, with its little sins and absurdities that almost point out the sentimental affectation…appears to me like the carvings in the Alhambra, those peculiar arabesques that sway nothing with their turns and shapes, but which are like the air, like the sun, like the blackbirds or like the nightingales of its gardens. They are more valuable than all else of Moorish Spain, which though we may not like it, is the true Spain.”