Isaac Albeniz: Portrait of a Romantic

By Walter Aaron Clark | Go to book overview

Acknowledgements

FOR over three decades, I have derived enormous pleasure and satisfaction from the music of Isaac Albéniz, as both a listener and a performer. For most of that time, however, the idea of writing a comprehensive study of his life and music was as distant and vague as the Magellanic Clouds. Now (suddenly, it seems to me) it is a reality. This project would never have reached fruition, however, without the generous assistance of so many people who shared their guidance and research. They have placed me under a debt that I cannot repay but that I gratefully acknowledge below and will never forget.

London: Barbara J. Peters, head of the Latymer Archive at the bank of Coutts & Co., and the 8th Lord Latymer, great-grandson of Francis Money-Coutts. Thanks also go to the British Library, the Westminster City Archives, and the Greater London Record Office and History Library. Clifford Bevan, the leading English authority on Albéniz, also deserves a sincere expression of thanks for sharing with me his excellent research on Albéniz's operas and English connections. I am also grateful to the Scottish musicologist Derek Watson, who graciously renounced the opportunity to write this biography for Oxford. I especially appreciate the interest and faith shown in this project by Bruce Phillips, senior music editor at Oxford University Press, and the excellent editorial work of his staff, in particular Jackie Pritchard, Helen Foster, and Janet Moth. Brussels: the library of the Conservatoire Royal, the Bibliothèque Royale Albert Ier, and the archive of the Théâtre de la Monnaie. Leipzig: the library of the Hochschule für Musik Felix Mendelssohn-Bartholdy, the music library of the city of Leipzig, and the Staatsarchiv and Stadtarchiv. Prague: the Municipal and National Libraries, and in particular Roman Lindauer, without whose timely assistance my work would have been much more difficult. Budapest: Maria Eckhardt of the Liszt Ferenc Memorial Museum and Research Centre, for her thorough investigations conducted on my behalf. Paris: Catherine Rochon of the Conservatoire National Supérieur de Musique et de Danse de Paris; the Bibliothèque Nationale and Archives Nationales for their patient assistance; and the firm of Max Eschig for its generosity. Barcelona: Ayuntamiento de Barcelona; Rosa Busquets of the library of the Museu Marítim; the Arxiu Municipal; Roma Escalas and his cordial assistants at the Museu de la Música, in particular Judit Bombardó; the Biblioteca de Catalunya; and the Arxiu Històric de la Ciutat. I am also indebted to Josefina Sastre of the Orfeó Català and the theatre museum of the Palau Güell for their help. I benefited from the assistance of the Arxiu Diocesa of the Arquebisbat de Barcelona, the Institut Universitari de Documentació i Investigació Musicològica Josep Ricart i Matas, Maria Luisa Beltrán Sábat of the Institut Municipal dels Serveis Funeraris de Barcelona, and Amparo Valera of the Teatre Romea. The musicologist Dr Monserrat Bergadà provided invaluable research support. Heartfelt thanks go to Albéniz's granddaughter Rosina

-vi-

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Isaac Albeniz: Portrait of a Romantic
Table of contents

Table of contents

  • Title Page iii
  • Acknowledgements vi
  • Contents ix
  • List of Plates x
  • List of Tables xii
  • Abbreviations xiii
  • List of Musical Examples xiv
  • Introduction - Step by Step 1
  • 1 - The Phenomenon 1860-1875) 16
  • 2 - With Distinction (1876-1888) 34
  • 3 - Veni, Vidi, Vici (1889-1893) 73
  • 4 - Prophet Without Honour (1894-1895) 109
  • 5 - A Man of Some Importance (1896-1897) 136
  • 6 - The Imperfect Wagnerite (1898-1904) 178
  • 7 - Iberia (1905-1909) 220
  • 8 - The Legacy of Albéniz 268
  • Appendix I 292
  • Appendix II - List of Works 295
  • Bibliography 301
  • Index of Works 311
  • General Index 314
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