Rick Beauregard wrote: ↑
Mon Jan 01, 2018 6:19 am
Interesting with all the analysis and interpretation of meaning and "affect" the composer was striving for, he never mentions that the subtitle is "Serenata." It's a serenade. Or that it is simply an Arab "cappricio", a whim, a fancy.
Serenata seems to have a slightly more nuanced meaning to Spanish speakers - can't remember exactly how though! But yes, I thought the article was well intentioned but rather padded out, and missed quite a few things. Like, how come something with a title implying whimsy is so highly structured? Like, why does it in fact not sound that Arabic (compared to several Albeniz pieces that one might assume Tarrega knew)? And that the author's concern to understand how a piece should be played never discusses how/why historically players have almost completely ignored many of the composer's clearly expressed instructions?