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I s a a c A L B E N I Z
E V O C A C I Ó N
iano Practical Editions pianopracticaleditions.com
I B E R I A b o o k I N º 1
There is general agreement among pianists and musicians that Iberia, Albeniz’ “swan song”, is arguably his greatest work and possibly the greatest work for piano by a Spanish composer. A richly inspirational and harmonic fabric is immediately recognisable in this Evocación, which acts as a prelude to the twelve works which comprise the opus. Enthused by the music of Ravel and Debussy, Albéniz transformed his earlier charming salon style, into a series of tone poems capturing the spiritual essence of Spain.
As you can see, its original title was indeed a “Prelude” dedicated to Jeanne Escudier (Ernest Chausson’s wife) — a most hauntingly wistful and introspective
piece reflecting a truly nostalgic vision of Albeniz’ native country.
With the exception of differing major and minor modes in this work and El Corpus en Sevilla, Albeniz never changes key signatures in Iberia, preferring the heavy use of accidentals to underline the many changes of key. Was this through negligence or by design? If the former, I humbly offer this edition which makes quite a few changes of signature, rendering, I believe, the text easier to read and comprehend by eliminating a raft of double sharps and flats.
Albéniz was an extrovert with a keen sense of humour, loved and respected by all who knew him. In this wonderful and imaginative music, he was also flamboyant with long descriptions in
Musical Health Warning : please be aware that these editions are definitely not urtext and should be consulted together with a traditional version. They have been devised purely to help
solve musical and technical problems at the piano.
Please send comments and error reports to Ray Alston [email protected]
i a n o P r a c t i c a l E d i t i o n s
I s a a c A L B E N I Z 1 8 6 0 - 1 9 0 9
E V O C A C I Ó N de la suite “IBERIA”
French and pedalling directions which sometimes seem to be a whirlwind of far-fetched impossibilities — unreasonable and endearing as they are. I plead guilty to not having religiously copied every
dot, accent, sign, pedal marking and many others. He was very zealous in having often provided many, sometimes conflicting, instructions and I have tried to simplify the music within reason
relying upon present-day sophisticated pianists and teachers reading the score philosophically. Regarding use of the sustaining pedal, I quote Debussy : “Pedalling cannot be written down — it
varies from one instrument to another, from one room, or one hall, to another.”
In addition to some suggested fingerings, the appendix contains comments, afterthoughts and a vocabulary. Redistribution between the hands comes under close scrutiny to make certain passages easier or more
persuasive. It is possible, even desirable, to use the sostenuto pedal effectively, although this is entirely editorial.
Jeanne Escudier & Debussy playing a duet 1893
&?
bb b b b b b
b b b b b b b
43
43œ .œ jœj œ œ jœ.˙dolce
œ .œ jœj œ œ jœ.˙
œ œ œ œ ˙j œ œ jœ.˙
œ .œ jœj œn œ jœ.˙
&?
bb b b b b b
b b b b b b b5
œb .œ jœj œn œ jœ.˙
œn .œ jœnj œb œn
jœ.˙
œ œb œ œ ˙j œn œb jœ.˙
œ .œ jœj œn œ jœ.˙
&
?
bb b b b b b
b b b b b b b9
œ .œ jœj œn œ œ œ.˙
œ .œ jœœn œ jœn.˙
œ œ œ œ œ œ œj œn œ œ œ.˙
œ œ œ œ œ œœ œn jœ.˙
&
?
bb b b b b b
b b b b b b b13
œ œ œ œ œ œ œj œn œ
jœ.˙
ß œ œ œ œ œ œ œj œn œb jœ.˙
π œ œ œ œ œ œ œ1 œ
j œb2 œn jœ3.˙
œn 4 œ œ œ œ œjœ œ œn 1 jœ.˙
Allegretto expressivo
EVOCACIÓN
&
?
bb b b b b b
b b b b b b b17
œ œ œ œ œ œ œ1 œ
j œ œn jœ3.˙
œn 3 œ œ œ œ œjœ œ œ jœn 1.˙
œ .œn jœ2Jœœ
j œ œn œ3 œ.˙
dolce
clair
œ .œ jœJœœn
œn œ jœn.˙
&
?
bb b b b b b
b b b b b b b21
œ œ œ œb 2 œ œ œ œ
j œ œn œ5 œ.˙
œ œ œ œ œ œœn œ jœ
.˙
œ .œn jœ2Jœœ
j œ œn œ œ.˙
poco cresc.
œ .œ jœJœœnœn œ jœn
.˙
&
?
bb b b b b b
b b b b b b b
√
25
œ œb œ œ œ œ œ3 œJœœ∫ Jœœ J
œœ
j œ œ∫ œ5 œ.˙
ßœ œ∫ 4 œ œ3 œ œ
Jœœ Jœ Jœœ
œ œ2 jœn.˙&
œœœn...œœœnn J
œœœn
œ œn œ œ ‚.˙
∏œœœ ...œœœbb J
œœœbb
œ œ œ œ œ.˙b
&
&
bb b b b b b
b b b b b b b
(√)
29
œœœn...œœœnn J
œœœn
œ œn œ2 œ œb.˙
œœœ...œœœb J
œœœ
œb œ5 œ œ∫ œ œn 1.˙ ?
ß œœœ ...œœœjœœœ
œb œœ5 œ œ.˙ &
p œœœ ...œœœn Jœœœ
œ œ œ œ
œ
‚
2
&
?
b b b b b b b
b b b b b b b
b b
b b33
œœœnn ...œœœ Jœœœn
œn œn œ5 œ œ.˙n &
πœœœ ...œœœnnn
Jœœ
œn 2 œn œ3 œ œn œJœ
œ .œ jœ˙
œ3 œ# œ œn œ
œ
.˙
π˙b œn˙b œ.˙b
œb 4 œb œ œ œb œ.˙
ß
&
&
b b
b b37
œ .œ jœ˙
œn œ# œ œn œ
œ
.˙π
˙ œn˙b œ.˙b
œb 4 œb œ œ œ œ.˙ß
œ .œ jœ˙
œ œ# œ œn œ
œ
.˙
π˙ œœ œ œ œ œ œ
œ# ‰ œ ‰ œ ‰.˙∏
&
&
b b
b b
b b b b b b b
b b b b b b b41
œ ˙œ œ œ œ œ œ
œ ‰ œ# ‰ œ ‰.˙
.œ̇ œ œ œ œ œ
œ# ‰ œ ‰ œ ‰.˙ ?
...˙̇˙ggggg
-
œ-
œ- œ- œ- œ- œ œ
.˙
∏m.d.
Adagio
ma sonoro
...˙̇-̇- - œ
-œ-
œ- œ-
.˙
rit. molto
m.s.
&
?
b b b b b b b
b b b b b b b
# #
# #45
.˙ ......˙˙˙̇˙˙
.˙
m.d.
Ø
.U̇
......˙˙˙̇˙˙
.u̇
œ œ# œ> œ œ œ œj œ œ œ# œ
.˙ptempo primo
œ# œ œ œ œ œœ œ jœ#
.˙
3
&
?
##
##49
œ œn œ> œ œ œ œj œ œ œn œ.˙
π œ œ œ œ œ œœ œ jœ
.˙
œœ œ œ œ œœ œ œ œœ œœ œ
Jœ .˙
∏œœ œ œ œ
œœ œ œœ.˙
&
?
##
# #
b b b b b b b
b b b b b b b
53
œœœœœ œœ
œ œ œ œ œ œ œ œ˙ œ
rit. molto
œœœ œœœœœ
U
œ œ œ œuœ ˙
‰ œb> œ2 œ4 œ œ. ≈
œ .œ jœJœ .˙
et très souple
poco meno tempo
bien marqué et p cependant
∏
Sost. Ped
‰ œ> œ3 œ4 œ œ. ≈
œ .œ jœJœ
&
?
bb b b b b b
b b b b b b b57
‰ œ> œ3 œ4 œ œ. ≈
jœ
3
œ œ œ œ ˙
‰ œ>
œ4 œ œ œ. ≈˙
Jœ
.˙m.s. sotto
‰ œ>œ3 œ œ œ. ≈
jœœ .œ Jœp
∏‰ œ> œ4 œ œ œ. ≈œ .œ Jœ
&
?
bb b b b b b
b b b b b b b61
‰ œ> œ œ œ œ. ≈
œ œ œ œ ˙œ œ
‰œ>œ4 œ œ œ. ≈
˙Jœ
.˙m.s.
‰ œ>
œ œ œ œ. ≈
œ .œ jœ.˙p
∏‰ œ> œ œ œ œ. ≈
œ .œ jœJœ
4
&
?
bb b b b b b
b b b b b b b65
‰ œ> œ3 œ5 œ œ. ≈
jœ
3
œ œ œ œ ˙
‰ œ>
œ4 œ œ œ. ≈˙
Jœ
.˙m.s.
‰ œ> œ œ œ œ. ≈œ .œ jœ
Jœ .˙ß
‰ œ> œ4 œ œ œ. ≈œ .œ jœn.˙
&
?
bb b b b b b
b b b b b b b69
‰ œn> œn 1 œn 5 œn œn . ≈jœn œ .œn jœ#.˙#
poco߉ œn>
œn 3 œ# œn œ.≈
jœœn#.˙n .˙π
rit.
‰ œb>
œ œ œ œ. ≈
œ .œ jœ.˙b
a tempo
‰ œ>
œ œ œ œ. ≈
œ .œ jœJœ
&
?
bb b b b b b
b b b b b b b
n n n n n n n
n n n n n n n73
‰ œ> œ œ œ œ. ≈
œ œ œ œ ˙.˙..*..
‰ œ>
œ œ œ œ. ≈˙
Jœ
.˙Jœ
m.s.
œœœœ ....œœœœ
jœœœœ
œ œ œ5 œ œ.˙
dolcissimop
π
œœœœ....œœœœ
jœœœ1
œ œ5 œ2 œœ2 œ
.˙
&
?
bb b b b
b b b b b77
...Jœœœm ≈ ‰
œ œ œ4
œ .œ3 jœJœœ ..˙̇
ß œ œ3 œ œ œ1 œœ .œ jœ..˙̇
œœœœ...œœœ
jœœœ
œ œ œ5 œ œ.˙
œœœœ ...œœœ1
jœœœœ œ5
œ œ3œ2 œ
.˙m.s.
5
&
?
bb b b b
b b b b b
# #
# #
n n
n n81
...Jœœœm
≈ ‰œ œ2 œ4
œ .œ3 jœJœœ ..˙̇
ßœ œ3 œ œ œ1 œ
œ .œ jœ..˙̇
œœœ...œœœ
jœœœ
œ œ œ5 œ œ.˙
œœœ ....œœœœ
jœœœ
œ œ5œ œ œ
1œ
.˙
&
?85
œœœn œb œb œ œ5 œb
œ .œ3 jœJœb .˙
ƒœb œ œb œ œ1 œb
œ .œ jœ1.˙
œœœ œb œb œ œ œb
œ .œ jœ.˙b
œb œ œb œ œ œb
œ .œ jœ.˙
&
?89
..œœ>
œ œb œb œ1 œb œb 1
œ .œ jœ.˙b
Ï..œœ
>
œ
°
œb œb œ œb œb
œ .œ jœ.˙b
[ ]
œœb-
œœ-3 œœb
-2
œœ-
œœb-32
œœbb-
œ œ
œb œ œ œ
.˙ƒ
[ half pedal ]
...˙̇̇b>
.˙b>Ï
...˙̇̇
.˙
&?94
...˙̇̇U
?
.U̇*[ ]
œb œb ..˙̇œ œb . œ. œ. .œ- ≈
Ó jœ. ‰.˙
π
molto meno mosso ..˙̇>œb œb . œb . œ. œ. œ.
.˙
œb œb ..˙̇œ œb . œ. œ. .œ- ≈
Ó jœ. ‰.˙
..˙̇>œb œb . œb . œ. œ. œ.
.˙
6
?
?
bb b b b b b
b b b b b b b99
œb œb .œ̇œ œ. œb . œ. œ. œ.
Œ jœ. ‰ jœ. ‰.˙
π
rit. molto .œ̇b . œb . œb . œ. œ. œ.jœ. ‰ jœ. ‰ jœ. ‰.˙
.œ̇b . œb . œb . œ. œ. œ.jœ. ‰ jœ. ‰ jœ. ‰.˙
˙ œ>œb . œb . œb . œ. œ œ&
jœ. ‰ jœ. ‰ œœn>˙ Œ
&
?
bb b b b b b
b b b b b b b103
œ .œ jœ˙̇
j œ œ œ œ.˙
marcato ma molto dolcea tempo
œ .œ jœ1
Jœœ ‰ ˙̇œ œ jœ
.˙
œ œ œ œ .œ jœ5‰ Jœ. Œ Jœ. ‰‰ jœ. ‰ jœ. ‰ jœ..˙
ß œ .œ jœ‰ Jœœ. Œ Jœ. ‰Œ ‰ jœ. ‰ jœ.œ œ
>˙
&
?
bb b b b b b
b b b b b b b107
œ œ œ œ .œ jœ‰ Jœ. Œ Jœ. ‰‰ jœ. ‰ jœ.
‰ jœ..˙
p œ .œ jœ‰ Jœ. Œ œ>‰ jœ. ‰ jœ. ‰ jœ..˙
œ œ œ œ .œ jœ‰ Jœ. Œ Jœ.‰ jœ. ‰ jœ.‰ jœ..˙
œ .œ jœ‰ Jœ. Œ œ>‰ jœ. ‰ jœ. ‰ jœ..˙
&
?
bb b b b b b
b b b b b b b
b b b b
b b b b111
œ œ œ œ œ œ jœ‰ .œ œ>j œ œ œ œ.˙
poco accel. jœœ œ œ œ œJœ ‰ .œ Jœœ œ œ .˙
ß rit.
œ œ œ œ œ œ jœ‰ .œ œœ œ œ œ
.˙
rit.
œ> jœ œ jœ
UJœ .œ œn
œ œ jœ u˙ ‚[ replay silently ]
7
&
?
bb b b
b b b b115
œ4 .œ jœ3
2
‰ Jœ ‰ œ œ
j œ œ5
œ œ
.˙
souple, très doux et lointainmeno mosso
m.s.Øœ .œ jœœ œœ3
œ5 jœ.˙
3
œ œ œ œ œ̇ œ œœ
œ ˙.˙
.œ̇ œ œ œ œœ..˙̇
&
?
bb b b
b b b b119
œ4 .œ jœ‰ Jœ ‰ œ œ
j œ œœ4
œ
.˙
sempre Øœ .œ5 jœœ œœ
1œ2 jœ.˙
œ œ œ œ œ̇œ
œ
œ œ ˙.˙
.œ̇ œ œ œ œ
œ..˙̇
&
?
bb b b
b b b b123
œ .œ jœ‰ Jœ ‰ œ œj œ œ
œ œ
.˙m.s.
œ .œ jœœ œœœ jœ.˙
3
œ œ œ œ œ̇ œ œœ
œ ˙.˙
.œ̇ œ œ œ œœ..˙̇
&
?
bb b b
b b b b127
œ .œ jœ5‰ Jœ ‰ œ1
œ2
j œ œ œ œ.˙
poco ßœ4 .œ5 jœb‰ Jœ
1 ‰ œ œb
œ œ jœ∫.˙ & ?
œb .œb jœ2
‰ Jœ∫ Œ Jœb ‰
j œb œ jœb.˙
∏.˙b œ∫ œb œ œ œ
œ.˙
m.s.
m.d.
8
&
?
bb b b
b b b b131
œ .œ jœ‰ Jœ ‰ œ œj œ œ
œ œ
.˙m.s.
Øœ .œ jœœ œœ
œ jœ.˙
3
œ œ œ œ œ̇ œ œœ
œ ˙.˙
.œ̇ œ œ œ œœ..˙̇
&
?
bb b b
b b b b135
....˙̇̇̇nnn#
...˙̇̇nn#Ø
lointaintrès
....˙̇̇̇U
...˙̇̇u
œœnn œ œ œœ
œ œ œ œ ˙
‰ jœ ˙.˙p
a tempo
.œ̇ œ œ œ œ œ
.˙ .˙
rall. molto
....˙̇̇̇nnn#
...˙̇̇nn#Ø
....˙̇̇̇U
...˙̇̇u
&
?
bb b b
b b b b141
.˙n œ œ œ œ ˙Jœn‰ jœ œ œ
Œ ˙.˙
quasi adagio
π..˙̇
u
.˙..˙̇
U
.˙
.˙œ œ œ œ ˙Jœ‰ jœ œ œ
Œ ˙.˙
π..˙̇
u
.˙ ?
..˙̇
U
.˙
?
?bb b b
b b b b145
.˙bœ∫ œb œ œ∫ œ œ œ>̇ œ∫.˙
ßtempo primo
sonoro ma non forte
.˙b œb œ∫ œ∫ œ œ œ.˙
.˙π
rit. molto
..˙˙n∫
œb œb œ œ .œ jœ.˙∏π
Largo absolument attenué . .. .œœ ≈U ....jœœœœn nnnU
≈&
. .œb ≈U ...jœœœnnn u ≈. .œ
&?
bb b b
b b b b149
....˙̇̇̇U
...˙̇̇u
Ø
Largo
˙̇ ....˙̇̇̇..˙̇...
˙̇̇
˙̇ ....˙̇̇̇..˙̇...
˙̇̇
. .. .œœ ≈ Œ. .. .. .. .œ œœ. .. .œœ. .. .. .
œœœ ≈ jœ. ‰∏ jœ.
‰ Œ Œ
9
Appendix
Comments, afterthoughts & vocabulary
As an interpreter-performer I often have to ask myself why a composer has chosen a particular time or key signature and sometimes the answer is not at all obvious. Now that we have the tools with which to “re-arrange” the music otherwise, my work as an editor becomes much more interesting. When these pieces were first written I like to think that the composer did not necessarily consider all the options, (at the time they had so much else to think about) and I doubt whether a colleague, editor or proofreader would have had the temerity to question a composer’s wishes. However, in retrospect I like to think that these now aged composers are approvingly viewing my modifications from above and giving the nod to my humble efforts.
• None of the sostenuto pedal suggestions are attributed to Albeniz. With practice it is possible to combine the sostenuto* and soft pedals with the left foot, judiciously coupled with the sustained pedal, producing wonderful impressionist orchestral sounds.
• The dynamic range is from f to a barely audible ppppp
Duration: 6’40
• 35 - 42 presented in B flat
• 47 - 54 presented in B minor • 55/67/69/77/81 acciaccaturas have been added
• 75 - 78 presented in C
• 79 - 82 presented in D flat
• 83 - 84 presented in D
• 85 - 102 presented with a blank key-signature
• 90 editorial pedal suggestion
• 114 editorial suggestion to silently replay the bass Eb, changing the pedal for a “clean” sound
clair
très souple
bien marqué et p cependant
très doux et lointain
clair
not metronomic p but well marked
very gentle and as from afar
This is Albeniz commenting on his own music written before Iberia: “Here 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 Córdoba, 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 colour, sunlight, flavour 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 say 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”.
* The sostenuto pedal was first shown in Paris at the Industrial Exposition of 1844. The idea was not immediately taken up by piano builders, but in 1874, is was perfected and patented by Steinway, soon to be fitted on all their grands and better uprights. One obvious commercial reason for not including the sostenuto pedal in musical scores must have been the thought of excluding buyers whose pianos didn’t have it. Debussy and Ravel certainly played such Steinways in the Paris salons. Apparently, in 1900 the composer René de Castéra bought a 3-pedal Steinway on the advice of Albeniz. One could say that it took over 100 years for it to become prevalent.