The formation of this work was significantly influenced by Felipe Pedrell, under whom Granados studied in the mid-1880s. Pedrell, a composer and musicologist known today as the "father of Spanish nationalism in music," sought to establish a distinct Spanish musical style. Although Granados does not directly quote existing folk songs in this work, it is evident that he was conscious of all elements of Spanish music (for example, the third piece, "Fandango," as its name suggests, is based on the typical fandango rhythm used in flamenco, and the fifth piece, "Andaluza," imitates the playing techniques of the guitar, an indispensable instrument when discussing Spanish music).

This work is believed to have been commenced around 1887 (when Granados was 20 years old) to 1889, during his studies in Paris, and completed in 1890. In the same year, it was published in four volumes, each containing three pieces, by Casa Dotesio, a Barcelona publisher (now succeeded by Unión Musical Española in the same city). It was premiered by the composer himself on April 20 of the same year at the Teatre Líric in Barcelona.

From Spanish Dances: Andaluza, Op. 37-5

Introduction

Although "Andaluza" was not a title given by the composer himself, the atmosphere of this piece, as if one could hear the zapateado (foot-tapping) and contratiempo (off-beat clapping) of flamenco (a traditional art form of Andalusia), likely led to this naming. Incidentally, "Playera" is also the name of an Andalusian song. (While it originally meant "of the beach," it seems to refer to a T-shirt today...) Although it is a work for piano, it is very often performed on guitar due to its excellent match with these characteristics.

Crafting Your Own Story

This piece, one of Granados's earliest yet most popular works, is in a simple ternary form where limited musical ideas are repeated like a renga (linked verse), rhyming with each other. The musical ideas themselves are often simple, but this very simplicity expands the possibilities for free interpretation, revealing more depth the more one delves into it. This is likely why it is cherished as a masterpiece.

The narrative descriptions below are solely the author's conception and hold no absolute validity. However, they are offered as an example of how a performer might "enjoy" the score, and it is hoped that they will serve as a reference point for creating one's own world.

Introduction

The bass steps in the introduction are ornamented in an acciaccatura-like manner, creating a "jang-jang-jang!" effect. Combined with the contratiempo in the right hand ("n-pam-pam-pa...!"), they heighten the Spanish mood. The main melodic motif, led by this, retains traces of the rhythm of the sarabande, a Spanish dance, possessing an understated nobility within its casualness. (The Andalusian night sings, dances, converses, and prays.) This melody, after a stepwise ascent of three anacrusis notes (with a "la-la-la♪" feel) (x), jumps up a major third to B. However, it then oscillates between B-A-B-A, and ultimately, the downward pressure brought by the accent on the final A leads to a hasty cadence. (It is also unique that both outer voices are in contrary motion yet in unison.) It is a somewhat assertive and "aloof" melody, but this very quality brings forth its hidden developmental potential, leading to later climaxes. When repeated in measure 8, it descends a sixth, bringing about a momentary modulation to G major, the parallel key (III degree). However, it is then somewhat forcefully pulled back to the original E minor through a bold and archaic harmonic progression, reminiscent of organum, with frequent parallel fifths in both outer voices (like a deceptive cadence). This further enhances the exotic atmosphere, which is simple yet full of mystery and magic.

From Measure 11

From measure 11, the repetition begins again, but the left and right rhythms are inverted. In measure 13, the melody reaches its highest note so far, C (which also aligns with the initial x). Combined with the bass ascending a seventh, a certain assertiveness is subtly present, creating a sentimental mood where true feelings peek through (II7). Nevertheless, it quickly points towards a cadence. However, here a 3/8 measure is inserted, and the cadence appears in a more classical and complete form. After the cadence, the four notes from measure 13 (B-A-B-C), representing the "true feelings," echo a perfect fourth lower (F#-E-F#-G) as if in resignation. But the third time, the three notes corresponding to x are ornamented and turn to major in a Picardy third, revealing a fleeting smile. (One might even sense a touch of insincerity here...)

From Measure 20

In measure 20, the melody gains support by asserting the major key a tenth lower. However, the main melody immediately thereafter cannot shed its own doubts and firmly rejects the major support at C (a quasi-diatonic chord), overcoming this to reach the highest note D independently, so to speak, making a grand gesture. Although the shadow of a quasi-diatonic chord constantly flickers, up to measure 22, the inner voices attempt to reinforce a major-key robustness. However, at più p in measure 23, doubt arises even here, and it ultimately returns to the modest minor key. (In fact, since the initial x anacrusis, the soprano melody has never once sung a constituent note of the major key!) The Picardy third x seen again in measure 30 is exactly the same as in measure 18, but after undergoing these processes, does it not sound like a "resignation" containing a slight feint?

From Measure 32

The B section, starting from measure 32, slows the tempo to Andante and modulates to E major, the parallel major. The melody itself is a contracted version of the A section's melody, used ostinato-like along with the sarabande rhythm. Furthermore, while the parallel melody in the A section was temporary, here it consistently accompanies the main melody a tenth or sixth below, providing a sense of reliability and momentary relief. Incidentally, Sarasate's violin piece "Playera" is cherished as a "prayer." It is interesting, even if a mere coincidence, that this part of Granados's "Playera" shares the same motif and a somewhat similar mood as the beginning of Tchaikovsky's "Morning Prayer." Musical Example (Tchaikovsky, first 2 measures)  

From measure 39, the descending melody, in harmony with the inner voices, perfectly matches the pentatonic scale, playing a role in creating its simple and innocent mood. (The accompanying A-G# with the agreeing interjections C#-B fall outside this pentatonic scale, however...) This innocent motif is repeated lovingly many times, with different accents and nuances, some with a perfect authentic cadence and some without, finally reaching pp. It is also a point where the performer is tested on how much improvisation can be brought to such repetitions, utilizing techniques like the placement of interjections. "~darou. ~deshou. ~dearou. ~janai ka. ~dearumai ka." Even in Japanese, there are various nuances in sentence endings.

From Measure 48

From measure 48, it is almost a repetition of the preceding 16 measures, but are the subtle changes in note values and nuances a product of carelessness, or an expression of improvisation...? (As an aside, listening to Granados's piano roll recordings, which are considered self-performances, one would be surprised by his excellent improvisational skills and the numerous differences from the score.) The decisive change occurs in the sixth (!) repetition of the innocent motif from measure 63, where the inner voice opposes the soprano's C# with a C (cross-relation), clearly negating the pentatonic scale and directing towards the minor key. Although the possibility of returning to major is not entirely abandoned yet... (as it might be a quasi-diatonic chord). Thus, the returning A section is almost a complete recapitulation, with the only slight difference being a left-right inversion of the rhythm (similar to measures 11-12) found near the end of the piece in measure 95.

Recapitulation

Ultimately, seeing is believing. Even as I write this, memories of my multiple visits to Andalusia during my student days come flooding back to my mind. Travel is not merely moving aimlessly. Even when the purpose was competitions or concerts, I always made sure to do some preliminary research on the local climate, culture, and language. And of course, I carried some Spanish music in my repertoire... For those who have not yet experienced Andalusia, why not use this piece as a gateway to embark on a journey? Now that information is so readily available on the internet, why not try living among the local people for a while? It will surely become a lifelong treasure.

A collection of 12 dances, comprising four sets, each consisting of three pieces. Each dance was originally created without utilizing pre-existing compositions. The titles of the individual pieces are based on the scores published in America.

No. 1: Minuet

The first piece, 'Minuet,' is in G major and 3/4 time. It possesses a rhythmic and powerful character.

No. 2: Oriental

The second piece, 'Oriental,' is in C minor and 3/4 time. A melancholic melody is sung over impressive arpeggios.

No. 3: Sarabande

The third piece, 'Sarabande,' is in D major and 3/4 time. This dance differs in impression from the refined sarabandes of the Baroque period, being a more primal dance brimming with energy.

No. 4: Villanesca

The fourth piece, 'Villanesca,' is in G major and 2/4 time. 'Villanesca' means 'villager's song.' This piece has a pastoral atmosphere, and the sound of bells is striking.

No. 5: Andaluza

The fifth piece, 'Andaluza,' is in E minor and 6/8 time. Through its arrangement for guitar, it became the most famous work in this collection. A guitar-like accompaniment is combined with a melancholic melody.

No. 6: Rondalla Aragonesa

The sixth piece, 'Rondalla Aragonesa,' is in D major and 3/4 time. 'Rondalla' means 'folk string ensemble.'

No. 7: Valenciana

The seventh piece, 'Valenciana,' is in G major and 3/4 time. 'Valencia' is the name of a city on Spain's eastern coast, famous for its oranges. It is a vibrant and varied piece.

No. 8: Asturiana

The eighth piece, 'Asturiana,' is in C major and 2/4 time. It is a dance from the Asturias region in northern Spain. It possesses a bright and cheerful character.

No. 9: Mazurka

The ninth piece, 'Mazurka,' is in B-flat major and 3/4 time. It differs somewhat from a Polish mazurka, being a vibrant dance characteristic of Spain.

No. 10: Danza Triste (Sad Dance)

The tenth piece, 'Danza Triste' (Sad Dance), is in D major and 3/4 time. It is a varied piece with diverse expressions.

No. 11: Zambra

The eleventh piece, 'Zambra,' is in 3/4 time. Although notated in G major, its music is characterized by the Phrygian mode. 'Zambra' is a Moorish dance from the Granada region.

No. 12: Arabesca

The twelfth piece, 'Arabesca,' is in A minor and 3/4 time.