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Relevant bibliographies by topics / Isaac Albéniz

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Academic literature on the topic 'Isaac Albéniz'

Author: Grafiati

Published: 4 June 2025

Last updated: 1 August 2025

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Journal articles on the topic "Isaac Albéniz"

1

Błażejczyk, Anna. "Isaac Albéniz’s Iberia as the Eternal Memory of Andalusia." Roczniki Humanistyczne 67, no. 2 (2019): 159. http://dx.doi.org/10.18290/rh.2019.67.2-8.

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The article is a case study illustrating the phenomenon of historical and cultural memory of the Andalusia region in the work of Isaac Albéniz, a famous Spanish composer of classical music on the turn of the 19th and 20th century. The article discusses the most outstanding composition of I. Albéniz Iberia in the context of the issue of national identity, history and culture of Andalusia. It contains a historical outline of individual Andalusian regions and Albéniz’s letters.

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Reel, Jerome V. "Merlin by Isaac Albéniz." Arthuriana 11, no. 4 (2001): 123–24. http://dx.doi.org/10.1353/art.2001.0063.

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Sanz García, Laura. "Isaac Albéniz y la difusión de la cultura española en París, a través del género epistolar." Anuario Musical, no. 65 (December 30, 2010): 111. http://dx.doi.org/10.3989/anuariomusical.2010.65.114.

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El presente artículo ofrece un retrato de Isaac Albéniz y su relevancia para las relaciones hispano-francesas en la cultura finde- siècle. La conexión que estableció Albéniz entre los círculos artísticos parisinos y los jóvenes españoles, así como el contraste estético-sociológico entre ambos países son las dos perspectivas que se analizan aquí. Para ello se ha estudiado un corpus significativo de cartas, incluidas en diversas publicaciones y, sobre todo, en el epistolario de Isaac Albéniz de la Biblioteca de Cataluña. Dichas fuentes proyectan la trascendencia del artista catalán más allá del

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Torres. "LA PRODUCCIÓN ESCÉNICA DE ISAAC ALBÉNIZ." Revista de Musicología 14, no. 1/2 (1991): 167. http://dx.doi.org/10.2307/20795451.

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Torres. "UN DESCONOCIDO "SALMO DE DIFUNTOS" DE ISAAC ALBÉNIZ." Revista de Musicología 13, no. 1 (1990): 279. http://dx.doi.org/10.2307/20795358.

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Alemany Ferrer, Victoria. "La estancia de Isaac Albéniz en Valencia en 1882." Anuario Musical, no. 66 (December 30, 2011): 235. http://dx.doi.org/10.3989/anuariomusical.2011.66.131.

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Este trabajo se centra en documentar las actuaciones públicas que ofreció un joven Isaac Albéniz con apenas veintidós años en Valencia durante el verano de 1882. Dichos conciertos, que formaban parte de una gira que entonces realizó como pianista solista por el levante español (también estuvo en Alicante, Cartagena y Alcoy), pueden tomarse como referencia de la actividad interpretativa que pudo desarrollar Albéniz en capitales de provincias españolas (fuera de grandes ciudades como Madrid y Barcelona) hacia finales del siglo XIX. Asimismo, se recoge información sobre la repercusión socia

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Trenc Ballester, Eliseu. "Silhouettes espagnoles de René Puaux (2)." EMBLECAT, Estudis de la Imatge, Art i Societat 1, no. 12 (2023): 19–38. http://dx.doi.org/10.56349/emblecat.219.

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Aquest estudi transcriu les Silhouettes espagnoles que René Puaux publicà a Le Temps l’any 1933, corresponents als músics Miquel Llobet, Isaac Albéniz i Enric Granados, que completen les publicades en el núm. 11 d’Emblecat sobre els artistes plàstics, així com una presentació i contextualització dels articles.

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López, Begoña. "Nuevas aportaciones a Deux morceaux de prose de Pierre Loti, de Isaac Albéniz." Anuario Musical, no. 57 (December 30, 2002): 241. http://dx.doi.org/10.3989/anuariomusical.2002.57.90.

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La aparición de los manuscritos de las dos canciones sobre textos de Pierre Loti, Crépuscule y Tristesse, permiten datar definitivamente dichas obras, ya que el lugar y fecha de composición aparecen indicados por Albéniz en cada una de las partituras: Paris-Auteuil, mayo 1898. Asimismo, las investigaciones realizadas en la biblioteca personal del compositor, nos demuestran el conocimiento profundo que de la obra literaria de Loti tenía Albéniz, del que se conservan trece libros, entre ellos Pasquala Ivanovitch del que extrajo el texto de Crépuscule. Hemos podido identificar también a la destin

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Walter Aaron Clark. "Las claves madrileñas de Isaac Albéniz (review)." Notes 66, no. 3 (2010): 533–35. http://dx.doi.org/10.1353/not.0.0318.

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Bordas. "CONGRESO ISAAC ALBÉNIZ (Roma, 10-12 de octubre de 1990)." Revista de Musicología 14, no. 3 (1991): 641. http://dx.doi.org/10.2307/20795504.

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Dissertations / Theses on the topic "Isaac Albéniz"

1

Rodriguez, Bermejo Sonia Maria. "Discovering Isaac Albéniz as a song composer." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1280777597.

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Rebollo, García María de Lourdes. "Iberia de Isaac Albéniz: Estudio de sus interpretaciones a través de “El Puerto” en los registros sonoros." Doctoral thesis, Universitat Autònoma de Barcelona, 2015. http://hdl.handle.net/10803/315468.

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El objetivo de esta tesis doctoral es el estudio de la interpretación de Iberia de Albéniz a través de los registros sonoros de una de sus piezas, “El Puerto”, la segunda del primer cuaderno de la colección. El trabajo inicia con un panorama de los registros sonoros de Iberia a partir de sus primeros registros en rollo para pianola y piano reproductor hasta los formatos digitales actuales. Se incluye un catálogo general y una discografía con referencia de localización para los registros parciales de Iberia a partir del disco de 78 rpm. La parte substancial del trabajo está enfocada a “El Puer

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Rontsch, Marc. "A comparative analysis of two guitar transcriptions of Isaac Albéniz's Granada." Master's thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/11015.

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Includes bibliographical references (leaves 131-135).<br>The solo piano works of Isaac Albéniz have been extensively transcribed and performed by many guitarists. Granada, the first movement from his Suite Española for piano is a favourite amongst guitarists - sometimes even more so than amongst pianists. This dissertation offers a comparative analysis of the very first transcription of Granada by the renowned Romantic composer and guitar virtuoso Francisco Tárrega, and a more recent transcription by Stanley Yates. The aim of the study is to identify and critically evaluate various transcripti

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Lin, Peiyi, and 林佩儀. "“Suite Española” Opus 47 by Isaac Albéniz." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/38585814278038930073.

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碩士<br>東海大學<br>音樂系<br>100<br>The Suite Española, composed in 1886, is one of Albeniz’s great piano compositions. The suite consists of eight pieces, each of which is named after a Spanish region. The pieces use elements of Spanish music as their resource. This paper consists of both a study of historical references and an analysis of the Suite Española so that it can be performed in an original and scholarly context.

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Tung, Yen-meng, and 董彥孟. "A study of Isaac Albéniz''s Iberia volumn Ⅱ." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/urb2wc.

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碩士<br>國立中山大學<br>音樂學系研究所<br>96<br>Isaac Albéniz(1860-1909) is one of important Spanish composers in the second half of nineteenth century. Like many Spanish composers, Albéniz devotes his musical language based on national materials. In his Iberia, composed from 1905 to 1908, Albéniz not only combines the traditional formal structure and flamenco musical elements, but also applies the twentieth century compositional techniques, such as whole-tone scales and polychords. This research consists three chapters. The first chapter focuses on the nineteenth century Spanish piano music and the life an

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Chen, Wan-Chun, and 陳菀君. "An Analysis of Suite Española, Op. 47 by Isaac Albéniz." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/g6n4fj.

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碩士<br>國立臺北教育大學<br>音樂學系碩士班<br>103<br>The study aims to analyze Suite Española, Op. 47, composed in 1886, is one of Albeniz’s great piano compositions. He received inspiration from music works by Felipe Pedrell who is the father of Spanish Nationalism. Albéniz exquisitely used many unique compositional techniques in his piano works, such as the characteristic and the style of Spanish folk music, the diverse dance rhythms, also in the manner which built special acoustic effects and the articulation of the guitar and percussion instruments. Such writing techniques exert the greatest influence to t

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Chou, Tzu-Kai, and 周資楷. "Research Isaac Albéniz 'Six Spanish Ballad Adaptation of Guitar Music." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/5qacr2.

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碩士<br>輔仁大學<br>音樂學系<br>103<br>Democracy prospers among different races in Eastern and Northern Europe during the mid-nineteenth century. Because of gradual rise in racial consciousness in countries led by Italy, Germany, and Austria, music groups with interests in revival music start to emerge. Their creation is based on local and folk music styles and they are determined to promote the local folk music and culture. In other words, their music creation has stronger racial characteristic. Albéniz is one of the greatest Spanish music creators in mid and late nineteenth century and an iconic figur

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Lin, Yu-Hung, and 林佑虹. "The Analysis and Interpretation of《Iberia》Book II：〈Rondeña〉,〈Almería〉,〈Triana〉by Isaac Albéniz." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/51022325450777405452.

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碩士<br>國立臺北教育大學<br>音樂學系碩士班<br>96<br>The purpose of this thesis is to analyze and discuss the interpretation of “Iberia” Book II by Isaac Albéniz. Albéniz is one of the most important musicians in Spanish modern times. He received inspiration from music works by Felipe Pedrell who is the father of Spanish Nationalism. Albéniz exquisitely used many unique compositional techniques in his piano works, such as the characteristic and the style of Spanish folk music, the diverse dance rhythms, also in the manner which built special acoustic effects and the articulation of the guitar and percussion ins

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Wang, Yu-Chun, and 王愉諄. "The Golden Age of Spanish Piano Music, Survey of Five Pieces－Isaac Albéniz, Enrique Granados, and Manuel de Falla." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/58380308924862039553.

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碩士<br>國立臺北教育大學<br>音樂學系碩士班<br>96<br>The Spanish music has shown its’ unique charm and colorful acoustics. From the late nineteenth to the early twentieth century, Isaac Albéniz, Enrique Granados, Manuel de Falla and other Nationalistic composers fused their works with characteristics such as Flamenco, Cante jondo, together with guitar skills. Furthermore, with the influence of the French music, the Spanish music went into its’ most magnificent golden period. The purpose of this thesis is to discuss the similarities and differences of the writing technique and musical styles of those compos

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Cho, Yoon Soo. "The Spanish guitar influence on the piano music of Isaac Albéniz and Enrique Granados : a detailed study of Granada and Asturias of Suite española by Albéniz and Andaluza and Danza triste of Doce danzas españolas by Granados." 2006. http://hdl.handle.net/2152/12975.

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Books on the topic "Isaac Albéniz"

1

Romero, Justo. Isaac Albéniz. Península Ediciones, 2002.

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Ester, Aguado Sánchez, ed. Las claves madrileñas de Isaac Albéniz. Ayuntamiento de Madrid, 2008.

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Hernández, Joana Alarcón. Isaac Albéniz, artista i mecenes: Museu Diocesà de Barcelona, 18/6-20/9/2009, Aula de Cultura Caixa Penedès, Vilafranca del Penedès, 17/12/2009-17/1/2010. Museu Diocesà de Barcelona, 2009.

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Albéniz, Isaac. Isaac Albéniz - Musica Para Piano. Union Musical Ediciones, 2000.

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Isaac Albéniz: (su obra para piano). Editorial Alpuerto, 1987.

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Silles, Paul. Isaac Albéniz: Retrato de un romántico. TURNER PUBLICACIONES S.L., 2002.

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Isaac Albéniz: A research and information guide. Routledge, 2016.

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Isaac Albéniz (1860-1909): La vocation de l'Espagne. Séguier, 2000.

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Albéniz, Isaac. Isaac Albéniz: Complete Works for Voice and Piano. Trito S.L., 1998.

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La música a Girona: Història del Conservatori Isaac Albeniz. Diputació de Girona, 2008.

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Book chapters on the topic "Isaac Albéniz"

1

Rodicio, Emilio Casares. "Albéniz, Isaac." In Metzler Komponisten Lexikon. J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_2.

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Rodicio, Emilio Casares. "Albéniz, Isaac." In Komponisten Lexikon. J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_2.

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Christoforidis, Michael. "Isaac Albéniz, Claude Debussy and views of the Alhambra from Paris." In Manuel de Falla and Visions of Spanish Music. Routledge, 2017. http://dx.doi.org/10.4324/9781315142135-4.

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Lily, Coenen. "Albéniz, Isaac." In Encyclopedia of Romantic Nationalism in Europe. Amsterdam University Press, 2015. http://dx.doi.org/10.5117/9789462981188/ngpw5b56cqwh0accip6lbwoz.

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Clark, Walter Aaron. "The Imperfect Wagnerite(1898-1904)." In Isaac Albéniz. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198163695.003.0007.

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Abstract The next product of Albeniz‘s professional association with Coutts was an operatic project on a truly grand scale, one that held tremendous importance for Coutts, if not as much for Albéniz. This was a trilogy of operas based on the Arthurian romance Le Morte dʾArthur by the fifteenth-century English author Sir Thomas Malory. The constituent parts of the King Arthur trilogy were to be Merlin, Launcelot, and Guenevere. The urgency Coutts felt about this project is already apparent in a letter of 4 January 1895 (previously quoted in connection with his quest for a suitable title for Hen

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Clark, Walter Aaron. "Iberia (1905-1909)." In Isaac Albéniz. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198163695.003.0008.

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Abstract Albéniz and Brussels went back a long way, and he retained many friends and professional connections there. In 1905 he finally succeeded in securing a production of Pepita Jiménez and his zarzuela San Antonio de la Florida at the Theatre Royal de la Monnaie,2 with which he had kept up a long correspondence on this very matter.3 The opera and the zarzuela premiered together on 3 January, 1905, with additional performances on 6, 10, 13 January, and 1 February. Maurice Kufferath translated the opera libretto into French4 and the work appeared as a comedic lyrique in two acts and three sc

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Clark, Walter Aaron. "Prophet without Honour(1894-1895)." In Isaac Albéniz. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198163695.003.0005.

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Abstract Albeniz‘S first assignment from Coutts was to set the libretto for an opera whose action takes place in fifteenth-century England, during the Wars of the Roses, eventually entitled Henry Clifford. Albeniz began work on this new opera about the time he decided to leave London, for reasons of health, in the autumn of 1893.1 Another motivation for the change of locale was that his wife Rosina did not care for the climate and ambience of London.2 She much preferred Paris, which she found more congenial to her temperament and where she could speak French, in which she was more fluent than

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Clark, Walter Aaron. "A Man of Some Importance(1896-1897)." In Isaac Albéniz. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198163695.003.0006.

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Abstract Juan Valera Y Alcala Galiano (1824-1905) was one of the best writers Spain produced in the nineteenth century. Born to a prosperous family in Cordoba, he studied Latin, law, and philosophy as a youth and was fluent in several languages. In 1847 he was appointed ambassador to Naples, where in his spare time he studied classical and modern Greek. Later diplomatic assignments took him to Lisbon, Rio de Janeiro, Dresden, Paris, Berlin, St Petersburg, and Washington, DC. Valera was, like Albeniz, a man of cosmo politan tastes and refinement. He was also a member of the liberal faction in S

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Clark, Walter Aaron. "Veni, Vidi, Vici(1889-1893)." In Isaac Albéniz. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198163695.003.0004.

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Abstract Albeniz appeared in a concert on 7 March 1889 at the Teatro de la Comedia in Madrid with the orchestra of the Sociedad de Conciertos conducted by Tomas Breton. The programme included his Suite caracteristica for orchestra, made up of arrangements of three piano works: the Scherzo from his Sonata No. 1, ‘En la Alhambra’ (‘inspired by Arab legends’), and ‘Rapsodia cubana’ (‘an exact transcription of the rhythm and melodic design of Cuban songs’).1 Albeniz also performed his Piano Concerto No. 1, or Concierto fantastico. Despite its title, the work is conservative and straight forward in

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Clark, Walter Aaron. "Introduction: Step by Step." In Isaac Albéniz. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198163695.003.0001.

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Abstract The Year 1909 Represented A Significant Milestone In The Passage From The Romantic Period To The Modern. German Expressionism Was In Full Career As Wassily Kandinsky Painted His First Abstract Compositions And Arnold Schoen Berg Experimented With Atonality In His Monodrama Erwartung And The Five Orchestral Pieces, Op. 16. Igor Stravinsky Began Collaborating With Sergey Diaghilev On The Firebird Ballet For Its 1910 Premiere In Paris, Where Pablo Picasso Was Laying The Foundation For Cubism In His Paintings Harlequin And Ambroise Vollard. Sigmund Freud Lectured To American Audiences On

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