In 2010 I had the pleasure of meeting thru a mutual friend the American pianist and Naxos recording artist Douglas Riva. Like myself, Douglas had cultivated a career based on the musical culture of late 19th and early 20th century Spain, and specifically so, regarding the Catalan composer Enrique (Enric) Granados (1868-1916). I met him on the heels of the Isaac Albéniz centennial year, for which I had participated in two events: in NYC a small series of concerts entitled Albéniz the Ultimate Romantic with pianist Alexander Wu and guitarist Francisco Roldan; I had also been invited to participate in Albéniz’s The Magic Opal by my friend the pianist and musicologist Borja Mariño, I helped to obtain a document about the libretto of this opera at New York University, was on hand to prepare the chorus and soloist with English diction, as well as sing the small role of Olympia in the revival of this opera at the Auditorio Nacional de España in Madrid. At the time I had hopes of doing an Albéniz concert at the Hispanic Society of America, but the fates were not with me. Knowing of the special relationship that the composer enjoyed with the founder of Hispanic Society of America, Archer Huntington, Douglas and I had our hopes to produce events for the Enrique Granados centennial year in 2016.
In 2012 we initiated the conversation with Hispanic Society and it was met with approval. Shortly after, the Official International Committee Commemorating the Centenary of Enrique Granados in 2016 and the 150th Anniversary of his birth in 2017 was formed with a group of scholars, professors, heads of foundations and musicians both in Spain and the United States. The committee is in part hosted and assisted by the Foundation for Iberian Music at the City University of New York Graduate Center. Part of the committee’s goal is to have an updated calendar of events taking place throughout the world in 2016-2017 of the music of Enrique Granados, symposiums, commemorations and publications.
Two years of planning then took place to organize the events at Hispanic Society; we agreed on a series of three concerts entitled From Barcelona with Passion, with one dedicated to song repertoire and dance, one to the historical recreation of chamber music concert that took place in 1916 with Granados himself and cellist Pau Casals at the Ritz Hotel in NYC, and a final concert showcasing the solo piano music of the composer with Douglas Riva. The New York based Sylvan Winds also forms part of the Granados music season at Hispanic Society, with a concert that includes a transcription of a piece by Granados, accompanied by other music related to the time period. A symposium event and concert has also been planned for March 10 of 2016 in collaboration with the Foundation of Iberian Music, at the CUNY Graduate Center in NYC.
I was in charge of putting together the dance and vocal concert that just transpired this past December 10 of 2015. The first order of business was finding a pianist that could help me program and advise on repertoire, as well as being able to edit (he is also a composer) “Danza de los ojos verdes” a piece for classical Spanish dance dedicated by Granados to Antonia Mercé, La Argentina in 1916. The music transcript in Granados’ hand writing is almost unreadable…I needed a virtuoso pianist accompanist, experienced and sensitive to singers; in him I had all those things. Borja, like many pianist accompanists in Spain, had been listening and playing the Tonadillas and the lesser known Canciones Amatorias practically all his life.
Our title “From Barcelona with Passion” in my mind necessitated for us to have at least one interpreter from Granados’ native Catalonia. We invited the lyric soprano Anna Belén Gómez to be part of the concert. We agreed to divide both cycles between the two female singers. It was agreed that we would perform 12 tonadillas al estilo antiguo, not excerpted as it is mostly done, but with all its elements, which for the most part is unknown to the general concert going public. The full cycle includes a song with a long recitation that relates a picaresque fable of Goya and an amorous escapade (“La maja de Goya”), a song for baritone called “El majo olvidado”, a duet for mezzo and soprano called “Las currutacas modestas” and the inclusion of an English Horn (for which we invited Dianne Lesser) to play the instrumental obbligato part that Granados composed in “Maja Dolorosa I”. The program included the entire cycle of the often neglected Canciones Amatorias (difficult for both pianist and singer!) and two of the Songs for male voice by Enrique Granados, recently edited by Douglas with Editorial Boileau in Barcelona (La boira and Noche y dia Diego ronda). I was able to enlist the help and participation of Argentinian baritone Gustavo Ahualli, fresh from bowing at the Teatro Colon of Buenos Aires, to learn these two elaborate and difficult songs (La boira is in Catalan), which ranged somewhere between the aesthetics of Mahler, Brahms and Wagner.
One of my favorite figures in this time period is the great Spanish dancer Antonia Mercé, La Argentina (1890-1936). La Argentina played an important role in our story: Archer Huntington helped make possible for the Metropolitan Opera of New York to premiere the opera “Goyescas”. The ballet of this opera, the “Intermezzo”, was intended to be interpreted by La Argentina, but there were contractual problems. Granados as a consolation for the dancer who was already in NYC, wrote “Danza de los ojos verdes”, which was premiered with the composer in the audience in NYC in 1916. The concert of dance and vocal works included a new reinterpretation of this piece with choreography by Gala Vivancos and interpreted by New York based Spanish dance artist Anna de la Paz. Anna commissioned a copy of the same dress worn by La Argentina on that occasion in 1916, which was designed by the painter Ignacio Zuloaga. Both the new choreography and dress were essayed on the vocal and dance concert of December 10th at Hispanic Society.
One of the reasons this period in Spanish culture is interesting to me is because it is generally called “The Silver Age” of Spanish culture, and a big characteristic of the period is the collaboration and friendships of artists of all genres coming together to create new and at the time Avant garde modern pieces of art. Granados wrote dance pieces for the dancer Tortola Valencia among others; his contributions to the genre of dance is not generally known. Many painters and visual artists of the period participated in theatrical projects that included the designing of costumes and sets, as Picasso did with Les ballets russe and Sombrero de tres picos by Falla (the backdrop of this ballet currently hangs at the New York Historical Society in Manhattan). “Danza de los ojos verdes” was also a creation of friends, with composer, interpreter and painter/costume design…
Collage with an Ignacio Zuloaga painting, and a photograph of Anna de la Paz and Borja Marino interpreting “Danza de los ojos verdes” at Hispanic Society of America Museum & Library in New York City
If any readers of Spanish Song Slinger are performers or musicologists, and have events that can be listed in the Granados Centennial Year of 2016-2017 calendar, please send a press release with the event to the Iberian Music Center, with email heading Granados Centennial Calendar Announcement, to:
For more information on the Enrique Granados Centennial, please see: http://www.granados100.com/