Earl Wild Plays Spanish and French Gems Music by Albéniz, Debussy, Falla, Granados, Mompou, Moszkowski and Ravel

Manuel de Falla (1876-1946)n Danza del molinero (“Miller’s Dance”)from El sombrero de tres picos (“ThreeCornered Hat”)n Danza ritual del fuego (“Ritual FireDance”) from El amor brujo

Commenting on Spanish music, andhis own contributions to it in particular,Manuel de Falla once stated, “Our musicmust be based on the natural music of ourpeople, on the dances and songs that donot always show close kinship… It hasoccasionally been asserted that we haveno traditions. We have, it is true, no writ-ten traditions; but in our dance and ourrhythm we possess the strongest traditionsthat none can obliterate. We have theancient modes which, by virtue of theirextraordinary inherent freedom, we canuse as inspiration dictates.”

Manuel de Falla was born in Cadiz,Spain, November 23, 1876. After prelim-inary studies with his mother and several

local teachers, Falla entered the Madrid Conservatory. There he was profoundlyinfluenced by two teachers, the composer Felipe Pedrell and the pianist José Tragó.He graduated from the Conservatory with highest honors and in 1905 won first prizefor La Vida Breve, in a competition among Spanish composers sponsored by theAcademy of Fine Arts in Madrid. He visited Paris in 1907 and was so intoxicatedby its musical life that he spent the next seven years in that grand city. There

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he met Debussy, Dukas, Ravel, Fauré, Satie, Schmitt and Roussel. Upon hisreturn to Spain in 1914 he embarked on an extensive tour, eventually settling inGranada. He composed El Amor Brujo in 1915, and one year later, the Nights in theGardens of Spain. As a result of a commission by Serge Diaghilev, Falla composed“The Three Cornered Hat,” which became one of the most successful ballets pro-duced by the Ballet Russe. During the Spanish Civil War, Falla, who was intenselyreligious, allied himself with the Franco forces. He saw in the nationalist movementa balance to the anti-religious activities that had been taking place throughoutSpain. However, support eventually gave way to disenchantment, and Falla, in ail-ing health, chose to expatriate himself. Falla died in Alta Garcia, in the province ofCórdoba, Argentina, on November 14, 1946.

The Danza del molinero (“Miller’s Dance”) is one of Falla’s most enchanting andpopular pieces. It is the sixth section of the ballet El sombrero de tres picos (“TheThree Cornered Hat”). The story for this ballet is a simple one. A young miller’s wifeattracts the lusty attentions of the local Governor, who, in order to assure the suc-cess of his advances, jails the miller. The miller’s wife entices the Governor with aseductive dance to a nearby bridge where due to his excitement he tumbles into thewater. Surviving the fall he goes to the miller’s house to dry himself and taking offhis clothes he makes himself at home in the miller’s bed. To revenge himself, thefreed miller steals the Governor’s clothes. The Miller’s Dance is a fiery farrucca (aSpanish flamenco dance of gypsy origin). Falla’s ballet was first performed at theAlhambra Theatre in London on July 22, 1919 with choreography by LeonideMassine. The curtain, scenery, and costumes of the Russian Ballet’s production wereall designed by none other than Picasso.

Manuel de Falla composed El Amor Brujo in 1915 for a gypsy singer and dancernamed Pastora Imperio, whose mother had told the librettist, Martínez Sierra, thestory on which he built his scenario. It is the story of Candelas, a gypsy girl of pas-sionate propensities, who was once in love with an evil but irresistible man whodied a violent death. Her new lover, named Carmelo, is much more worthy of herlove. But Candelas is superstitious, and every time Carmelo draws near she feels theghostly presence of her departed lover and shrinks away in fear and trembling.Carmelo, who knew the dead man, reasons that the specter must be attacked at itsweakest point. The dead man had been jealous, but he had also been unfaithful.

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Ingeniously, then, Carmelo induces apretty acquaintance of Candelas’, whosename is Lucia, to make advances to theapparition when it next appears. Theruse works. In the few minutes that theghost’s attentions are thus directed,Carmelo takes Candelas in his arms —the spell is broken — life triumphs overdeath. The Ritual Fire Dance is actuallytitled Ritual Dance of Fire for theExorcism of Evil Spirits. It is one Falla’smost astonishing and popular musicalcreations, evoking a smoking cauldronand demonic incantations.

Isaac Albéniz (1860-1909)n Malagueña from España, Opus 165n Castilla (Seguidillas) from Suite española,Opus 47n Triana from Iberia, Book 2

Isaac Albéniz began his career as atouring virtuoso pianist. Appearing on theconcert platform at the age of four, hisearly life was highly colorful and adven-

turous. After being refused admittance to the Paris Conservatory on the grounds thathe was much too young, he ran away from home at the age of nine. He gave con-certs all over Spain, earning enough money to travel to the New World. Afterworking his way from Cuba to San Francisco playing the piano, he eventuallyreturned to Europe when he was thirteen. Studies in England and Germany pre-ceded his return to Spain where he received a Royal grant to continue his travels.A few years later he gave up his life as a touring piano virtuoso, though not beforehe had concertized once again throughout the Americas. He then went to Paris to

Isaac Albéniz

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study with Dukas, Debussy and d’Indy. He also met Franz Liszt, and toured brieflywith Anton Rubinstein. When Albéniz abandoned his role of wandering virtuoso, hededicated the rest of his life to composition. In 1899, his first and most importantorchestral work appeared, Catalonia, a rhapsody celebrating the place of his birth.Two years later he composed his masterpiece, Iberia. His remaining years werespent in France, where he died eleven days before his forty-ninth birthday (1909).

The Malagueña is a type of fandango from Málaga, in southern Spain. It’s a live-ly dance in triple time to the accompaniment of castanets or tambourine. It waspublished in a collection of six pieces entitled, España, Opus 165. Castilla, isAlbéniz’s evocation of dance music from the province of Castile. He subtitles thepiece seguidillas — a dance in which the dancers “freeze” at the end of each stro-phe (or copla) while the musicians introduce the next phrase. Although this Castillawas published as part of Albéniz’s first Suite española, Opus 47, he also publishedit as the concluding Seguidillas of his collection, Cantos de España, Opus 232. Oneof the most enchanting sketches from Albéniz’s masterpiece, Iberia, is Triana. Trianais the ancient quarter of Seville which lies just across the river. Despite its imperialname — Triana was named for the Roman Emperor Trajan whose birthplace is near-by — it has been for many years the gathering place of Gypsies, bullfighters, ped-lars, strolling players, and other picturesque characters who live by their wits. Thepeople of Triana are very gregarious and seem to spend their lives laughing, gossip-ing, bargaining, and quarreling in the streets. It is this colorful, irresponsible life thatAlbéniz pictured in his music.

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Claude Debussy (1862-1918)n Reflets dans l’eau (“Reflections in theWater”) from Images, Set In Les collines d’Anacapri (“Hills ofAnacapri”) from Préludes, Book In Clair de lune (“Moonlight”) from Suitebergamasquen Poissons d’or (“Goldfish”) from Images,Set II

To Debussy music was always a mys-tery, something intimate and personal tobe offered and accepted with delicacy.“The soul of another is a dim forest whereone should walk with cautious steps,” heonce remarked, sounding the keynote ofhis own intense love of freedom. It wasnot a flaunting freedom nor physical iso-lation he craved, but a sort of soul priva-cy which gave him his “ivory tower” inthe midst of busy streets. He would havebeen the last man in the world to haveforced his music on unwilling ears or

spread his dream pictures before eyes that could see only posters!Historians usually classify Debussy as an Impressionist. Debussy himself argued

that the term could be rightly applied only to the art of painting, where it originated.Quibbling over a word, however, cannot alter the fact of the striking resemblancein subject, purpose, and method of Debussy’s music and the work of theImpressionist painters and Symbolist poets whose philosophies he shared.

When Debussy published his first set of Images in 1905, he wrote to the pub-lisher: “I think I may say without undue pride, that I believe these three pieces willlive and will take their place in piano literature… either to the left of Schubert… orthe right of Chopin…” According to biographer Oscar Thompson, Reflets dans

Claude Debussy

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l’eau (“Reflections in the Water”) is one of the most perfect examples ofImpressionism in music. He writes: “The first floating chords establish a mood thatis highly suggestive. Luminous chords and skimming arpeggios are used in succes-sions that yield a drowsy, flickering effect, as of inverted images in a pool. The basictheme is a slow, trailing one, mirrored, in the course of its transformation, in whatmay be described as harmonic reflections.” Debussy referred to this music asembodying “the newest discoveries in harmonic chemistry.”

Les Collines d’Anacapri (“Hills of Anacapri”) appears in Book I of Debussy’sPréludes, published in 1910. According to pianist Marguerite Long, “In this memoryof an Italian journey, light and movement are in opposition to each other. A networkof tarantellas surrounds the Bay of Naples, its villas and its grottoes. In the midst offrenzied dancing a disapproving note is heard from the convent bells. But a popu-lar song, simple, indolent and amorous, supervenes. With an imperceptible gesture,with a single displacement of an acciaccatura (‘crushing-in’ of two notes, when theprincipal note retains its accent and practically all its time-value) all the ardor, ten-derness and audacity of a Neapolitan gamin (‘street urchin’) is suggested.”

Clair de lune (“Moonlight”) is spellbinding music. The composer, like a blissfullyunconscious sleepwalker, follows his dream and takes the listener with him into aninvisible world. Clair de lune is one of the four pieces which make up Suite berga-masque (1890-1905), written when Debussy was much intrigued by the Symbolistpoets. Italian musicologist, Guido Gatti, writes: “What an airy flowering of arpeg-gios ascends the keyboard, to leap up again like a fountain jet which scatters itswater on the air, then relapses into calm again in solid tonic and dominant undula-tions, on which the theme spreads out, ample, sonorous, expressive.” This is beau-tiful, emotional, pellucid music, where Debussy revels in the luscious, often “float-ing” tone.

Debussy published his second set of Images in 1907. The final piece is Poissonsd’or (“Goldfish”). According to biographer Léon Vallas, this music was inspired bythe contemplation of a piece of oriental lacquer in Debussy’s possession. “Thusviewed,” writes Oscar Thompson, “the music is less a description of actual goldfishswimming in a pool than it is a reflection of Debussy’s love of Japanese objets d’art.But it has the flash of sunlight on water and the gleam of moving fins, rather thanany suggestions of static contemplation of line and color.”

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Enrique Granados (1867-1916)n Andaluza (Playera) (Danza española No.5)from Doce danzas españolas, Opus 37n Quejas, o la maja y el ruiseñor“Complaints, or the Maiden and theNightingale”) from Goyescas

Enrique Granados was born in 1867,the son of an officer in the Spanish army.He was a gifted child, and his parentswere proud to foster his music. Like hisfamous compatriots, Albéniz and Falla,Granados studied with Felipe Pedrell.When he was twenty years old, Granadoswent to Paris in the hope of studying atthe Conservatory, but typhoid fever pre-vented him from taking the necessaryentrance examinations. Although, he wasnever admitted into the Conservatory,Granados remained in Paris for two years.Upon returning to Spain he began acareer as a pianist. His success as a trav-elling virtuoso did not deter him fromcomposing. He produced some of his

most enduring piano works, which included the four volumes of Spanish Dancesand the remarkable set of six pieces, entitled Goyescas. From these piano pieces,Granados composed an opera which received its first performance at theMetropolitan Opera in New York on January 28, 1916. Despite the war, Granadoscame to the United States to attend the premiere. An invitation to play for PresidentWilson at the White House proved fatal to Granados. Delaying his return to Europeby a week in order to honor this engagement, Granados was traveling aboard theSussex, when the Germans torpedoed and sunk it on March 24, 1916.

The Doce danzas españolas were composed between 1892 and 1900. These

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exquisite pieces were greatly admired by Jules Massenet, Camille Saint-Saëns andEdvard Grieg. The fifth in the set is entitled Andaluza. This music with its vigorouschanging rhythms, sudden outbursts, and languid melodies, evoking sunnyAndalusia, is the expression of a southern people in whom strong emotions andindolence are strangely mingled. In his masterpiece, Goyescas, Granados sought toevoke the spirit of the Madrid which Spanish painter and printmaker, FranciscoGoya (1746-1828) knew and depicted. It was the Madrid of the late eighteenth cen-tury with its picturesque majas and majos (coquettes and mashers), a Madrid ofromantic patios, grilled windows, and gardens sweet with scent and nightingalesong. The suite of six pieces was completed in 1911. The fourth piece is entitledQuejas, o la maja y el ruiseñor (“Laments, or the Maiden and the Nightingale”). It isone of Granados’ most luxurious melodic inspirations. The maja sings and thenightingale answers with trills. The work is full of passion and tension. Lyricismabounds. Granados writes in the score: “Con celos de mujer; no con tristeza deviuda” (“With a woman’s jealousy, not with a widow’s sorrow”).

Moritz Moszkowski (1854-1925)n Caprice espagnole, Opus 37

Moritz Moszkowski was born in Breslau. He began music studies in Dresden,eventually moving to Berlin to continue his education with Kullak and Wüerst. Hewas an extraordinary pianist who toured extensively throughout Europe. His debutin Berlin at the age of 19 was sensational, prompting Franz Liszt to write admir-ingly of him. Frederick Kitchener witnessed one of Moszkowski’s recitals inEngland. He related that “the playing of Moszkowski was beautiful; there was noattempt to astonish… a musician, not an acrobat was at the piano.” According toEmil Liebling, “considered as a pianist, Moszkowski is hors de concours…Everything was done musically and with the utmost ease.” Highly influential as ateacher, Moszkowski taught at the Kullak Conservatory in Berlin and later in Paris.Many Americans flocked to Europe to study with him. Illustrious pianists such asJosef Hofmann were among his pupils. For a figure of such professional stature, hispersonal life in later years was less fortunate. After an unsuccessful marriage topianist Cecile Chaminade’s sister, Georgette, Moszkowski moved to Paris with his two

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children (a daughter who died shortlyafter their arrival to Paris, and a son).Through some unfortunate carelessnessMoritz Moszkowski lost the copyrights tohis compositions during World War I, andeventually died from a painful throat ill-ness in near poverty on March 4, 1925 inParis.

Today, Moszkowski is best remem-bered for a few delightful piano pieces —the Etudes, Opus 72, Etincelles (“Sparks”),Opus 36, No.6 (popularized by Hofmannand Horowitz), and his Spanish Dancesfor piano 4-hands, Opus 12. He alsocomposed operas, ballets, orchestralsuites, songs, concertos, and chambermusic — many of which remain forgot-ten. No proper re-assessment ofMoszkowski’s compositions has takenplace nor has anyone written a biographyof this once influential teacher, pianistand composer. Most writers on musiccontinue to repeat the pejorative term“salon composer” when commenting onMoszkowski. How unfortunate.

Much of Moszkowski’s music is written for the piano. These works are generallyminiatures, always well-crafted and pianistic. His early song cycles demonstrate anaffinity for the voice and are written in a powerful Brahmsian mode. The orchestralsuites show Moszkowski to be a brilliant orchestrator having a powerful grasp ofpolyphony. The operas and ballets evidence a keen understanding of theatricalmusic and have been performed all over the world. The piano and violin concertosare brilliant showpieces, full of delicious melodies. Yet, despite all this musicalevidence, Moszkowski is not accorded much attention and is often considered a

Moritz Moszkowski

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footnote in musical history. One of hismost effective piano compositions wasthe Caprice espagnole, Opus 37. A bril-liant work in Spanish style, full of deli-cious Spanish rhythm and a constant playof light and shade, this neglected and dif-ficult showpiece was a favorite of manylegendary pianists, including JosefHofmann and Wilhelm Backhaus.

Federico Mompou (1893-1987)n Canción y Danza No.8

Federico Mompou was born inBarcelona. He began music studies at anearly age and then entered the BarcelonaConservatory where his primary teacherwas Pedro Serra. In 1911 he went to Paris,where he studied with Isidore Philipp,Ferdinand Motte-Lacroix, and MarcelSamuel Rousseau. During World War I,Mompou remained in Barcelona anddevoted his time primarily to composi-tion. But the spell of France was too irre-sistible. He returned to Paris in 1921,remaining there until 1941. From 1941 until his death in 1987, Mompou residedin Barcelona, where he continued to compose and where he also recorded most ofhis piano works. In the 1950’s Gerard Michel wrote the following profile of thecomposer: “Mompou caresses the black and white keys with his ardent and deli-cate fingers, and from then on nobody can resist the spell. A magician who bansall ostentatious effects, he makes a discovery out of the merest trifles. The subjec-tivity itself is such that technique no longer seems to exist.” All Federico Mompou’spiano pieces explain his thought when he said: “I am not a musician, but I should

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Federico Mompou

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very much like to be music itself.” From1921 to 1979 Mompou composed four-teen Canciones y Danzas with the aesthe-tic purpose of creating a musical contrastbetween lyricism and rhythm. Sadnessand nostalgia are contrasted with a bril-liant dance. Composed in 1946, theCancion y Danza No.8 tells the melan-choly story (in the form of a slow waltz) of“El testament d’Amèlia” with the Catalangrace and elegance of “La filadora.” Thework is dedicated to the pianist RicardoViñes.

Maurice Ravel (1875-1937)n Jeux d’eau (“Play of Water”)n Alborada del gracioso (“The MorningSerenade of a Delicate Buffoon”) fromMiroirs

In an interview published a few yearsbefore his death in 1937, Maurice Ravelspoke about himself: “I am not a “moderncomposer” in the strictest sense of theterm, because my music, far from being

“revolution,” is rather “evolution.” Although I have always been open-minded to newideas in music I have never attempted to over-throw the accepted rules of harmonyand composition. On the contrary, I have always drawn liberally from the masters formy inspiration (I have never ceased studying Mozart!), and my music, for the mostpart, is built upon traditions and is an outgrowth of the past. I am not a “modern com-poser” with a flair for writing radical harmonies and disjointed counterpoint becauseI have never been a slave to any one style of composition. Nor have I ever allied myselfwith any particular school of music. I have always felt that a composer should put on

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Maurice Ravel

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paper what he feels and how he feels it — irrespective of what the current style ofcomposition may be. Great music, I have always felt, must always come from theheart. Any music created by technique and brains alone is not worth the paper itis written on.”

In 1901 Ravel created one of his most admired piano works — Jeux d’eau(“Play of Water”). In his autobiography he wrote: “The Jeux d’eau, stands as thepoint of departure for all new pianistic expressions one may find in my works. Thiswork, inspired by the bubbling of water and the musical sounds of fountains,waterfalls, and brooks, is built on two themes in the manner of the first movementof a sonata, without, however, being subjugated to the classic tonal formula.” Thescore provides a quote from Henri de Régnier: “The river god laughing at thewater that tickles him.” Ravel dedicated the piece to his “beloved master GabrielFauré.” Benno Moiseiwitsch, who performed this work often and was one of thefirst pianists to record it, perhaps described it best: “Glittering drops falling —now singly, now in iridescent groups, the water flowing, leaping and laughing inmerry play, molding and remolding itself into a hundred shapes, with a hundredchanges of light and color.”

The five pieces that make up the set Miroirs are all inspired by some sort ofexternal image or impressions “mirrored” in sound. Ravel composed Miroirs in1905. The fourth work in the set is entitled Alborada del gracioso (“The MorningSerenade of a Delicate Buffoon”). Dedicated to musicologist M. D. Calvocoressi,this piece is one of Ravel’s most brilliant creations. The composition is a vivid musi-cal portrait of a Spanish dandy (one biographer called him a sort of “AndalucianPetrushka”!) in which may be heard his morning serenade and the metallic strokeson the guitar and the dry, determined crackling of castanets accenting brief halts inthe rhythm. It is a pianistic tour de force that includes glissandi in fourths andthirds, long series of repeated notes, and difficult staccato passages.

— Marina and Victor Ledin, © 1998

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Earl Wild Biography

Earl Wild is a pianist in the grand Romantic tradition. His legendary career, sodistinguished and long, has continued for over 70 years. Born in 1915, inPittsburgh, Pennsylvania, Earl Wild’s technical accomplishments are oftenlikened to what those of Liszt himself must have had. Born with absolute pitchhe started playing the piano at three. Having studied with great pianists such asEgon Petri, his lineage can be traced back to Scharwenka, Busoni, Ravel, d’Albertand Liszt himself.

Earl Wild’s career is dotted with musical legends. As a young pianist he wassoloist with Arturo Toscanini and the NBC Symphony. Since then he has performedwith virtually every major conductor and symphony orchestra in the world.Rachmaninov was a friend and an important idol in his life. It’s been said of EarlWild, “He’s the incarnation of Rachmaninov, Lehvinne and Rosenthal rolled intoone!” In 1986 after hearing him play three sold-out Carnegie Hall concerts, devot-ed to Liszt, honoring the centenary of that composer’s death, one critic said, “I findit impossible to believe that he played those millions of notes with 70-year-old fin-gers, so fresh-sounding and precise were they. Perhaps he has a worn-out set up inhis attic, a la Oscar Wilde’s Picture of Dorian Gray.”

He’s one of the few American pianists to have achieved international anddomestic celebrity. He has performed for six Presidents of the United States, andin 1939, was the first classical pianist to give a recital on the new medium oftelevision. At fourteen he was performing in the Pittsburgh Symphony with OttoKlemperer as well as working at radio station KDKA, where he played many ofhis own compositions. As a virtuoso pianist, composer, transcriber, conductor,editor and teacher, Mr. Wild continues in the style of the legendary great artistsof the past.

This eminent pianist has built an extensive repertoire over the years, whichincludes both the standard and modern literature. He has become world renownin particular for his brilliant performances of the virtuoso Romantic works. Todayat 83, Mr. Wild continues to record and perform concerts throughout the world. In1997, he won a Grammy® Award for his disc, “The Romantic Master” – thirteenpiano transcriptions (nine of his own). When he was 79, he recorded a critically

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acclaimed Beethoven disc which included the very difficult Hammerklavier Sonata,as well as a disc of the Rachmaninov Preludes. As an Ivory Classics™ artist, hisimmediate plans are to record three 20th century piano sonatas by well knowncomposers as well as a sonata of his own.

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Credits

Tracks n, n, n, n, n, n, n, n, n and nrecorded in New York City, October 12, 1965

Tracks n, n, n and n recorded in London, April 1968Track n recorded in London, October 14, 1964

All tracks under license from Reader’s Digest Music,A Division of the Reader’s Digest Association, Inc.

Remastering Producer: Michael Rolland DavisHigh resolution digital remastering:

Ed Thompson and Glenn Meadows at Masterfonics, Nashvilleencoding provided by Doug Beard and Tom Jenny of Data CD, Inc.

Liner Notes: Marina and Victor LedinDesign: Communication Graphics

Inside Tray Photo:Earl Wild with ‘Lotus,’ an optical glass sculpture by Christopher Ries

(Photo by Kevin Fitsimmons)

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Remastering Producer: Michael Rolland DavisRemastering Engineer: Ed Thompson

All tracks under license from Reader’s Digest Music, A Division of The Reader’s Digest Association, Inc.

®

Music by Albéniz, Debussy, Falla, Granados, Mompou,Moszkowski and Ravel

Falla: Danza del molinero(“Miller’s Dance”) from El sombrero de tres picos (“Three Cornered Hat”) 2:20

Albéniz: Malagueña from España, Opus 165 4:00

Albéniz: Castilla (Seguidillas) from Suite española, Opus 47 3:00

Debussy: Reflets dans l’eau from Images,Set I (1905) 5:10

Albéniz: Triana from Iberia, Book 2 5:11

Falla: Danza ritual del fuego (“Ritual Fire Dance”) from El amor brujo 3:41

Granados: Andaluza (Playera – Danza española No.5), from Doce danzas españolas, Opus 37 3:35

Moszkowski: Caprice espagnole, Opus 37 5:52

Debussy: Les collines d’Anacapri(“Hills of Anacapri”) from Préludes, Book I 2:55

Mompou: Canción y Danza No.8 (1946) 3:35

Debussy: Clair de lune from Suite bergamasque 4:30

Ravel: Jeux d’eau (1901) 5:00

Debussy: Poissons d’or from Images,Set II (1907) 3:25

Granados: Quejas, o la maja y el ruiseñor(“Laments, or the Maiden and the Nightingale”) from Goyescas (1911) 7:01

Ravel: Alborada del gracioso from Miroirs (1905) 6:30

Total Playing Time: 67:15

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Music by Albéniz, Debussy, Falla, Granados, Mompou,Moszkowski and Ravel

Falla: Danza del molinero(“Miller’s Dance”) from El sombrero de tres picos (“Three Cornered Hat”) 2:20

Albéniz: Malagueña from España, Opus 165 4:00

Albéniz: Castilla (Seguidillas) from Suite española, Opus 47 3:00

Debussy: Reflets dans l’eau from Images,Set I (1905) 5:10

Albéniz: Triana from Iberia, Book 2 5:11

Falla: Danza ritual del fuego (“Ritual Fire Dance”) from El amor brujo 3:41

Granados: Andaluza (Playera – Danza española No.5), from Doce danzas españolas, Opus 37 3:35

Moszkowski: Caprice espagnole, Opus 37 5:52

Debussy: Les collines d’Anacapri(“Hills of Anacapri”) from Préludes, Book I 2:55

Mompou: Canción y Danza No.8 (1946) 3:35

Debussy: Clair de lune from Suite bergamasque 4:30

Ravel: Jeux d’eau (1901) 5:00

Debussy: Poissons d’or from Images,Set II (1907) 3:25

Granados: Quejas, o la maja y el ruiseñor(“Laments, or the Maiden and the Nightingale”) from Goyescas (1911) 7:01

Ravel: Alborada del gracioso from Miroirs (1905) 6:30

Total Playing Time: 67:15

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Remastering Producer: Michael Rolland DavisRemastering Engineer: Ed Thompson

All tracks under license from Reader’s Digest Music, A Division of The Reader’s Digest Association, Inc.

©1998 Ivory Classics™ • All Rights Reserved.Ivory Classics™ • P.O. Box 341068

Columbus, Ohio 43234-1068 U.S.A. Phone: 888-40-IVORY or 614-761-8709 • Fax: 614-761-9799e-mail@ivoryclassics.com • Website: www.IvoryClassics.com

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