Isaac Albeniz (1860-1909)

Author(s): G. Jean-Aubry
Source: The Musical Times , Dec. 1, 1917, Vol. 58, No. 898 (Dec. 1, 1917), pp. 535-538
Published by: Musical Times Publications Ltd.

Stable URL: https://www.jstor.org/stable/908295

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 THE MUSICAL TIMES.-DECEMBER I, 1917. 535
A little later he again left his father's house and ran

the Znusical imos

AND SINGING-CLASS CIRCULAR.
away to Cadiz, where he boarded a vessel leaving for
Porto Rico. He was discovered soon after the depar-
ture of the boat, and we find him giving concerts on
board, charming the passengers, and them all
DECEMBER I, 1917. busy writing introductions for him. He played
in the principal towns of Porto-Rico and of Cuba till
stopped by his father's order; but finally permission
ISAAC ALBENIZ (1860-1909). was obtained for him to continue his journey. He
reached the United States, where he experienced days
BY G. JEAN-AUBRY.
of great misery, but also great success-especially at
No life seems more like a legend and retains to the San Francisco.
end more of the beauty, the surprises, the agreeable Having succeeded In earning a little money, he
agitation of some romance of adventure than that of decided to return to Europe. He was then about
Isaac Albeniz. His imagination was always carrying fifteen years old. He played at. Liverpool and in
him away, an imagination guided by a love of life which London; but making up his mind to resume his
nothing could curtail. musical studies, of which he felt the need, he settled
He was born at Campredon, in the province of in Leipsic, where he worked under Jadassohn and
Gerona, on May 29, I86o. His Spanish biographersReinecke. After a few months of study, however, and
relate that directly after his birth his father was forced,
his savings almost gone, he took the road to Spain.
on a tempestuous night, to take the child away, Introduced to Count Morphy, who became interested in
wrapped in a cloak and by difficult roads, to his him, and obtained for him an opportunity of playing at
native town in quest of a nurse capable of satisfying Court, Albeniz astonished Alphonso XII. by his great
an appetite which later was to become proverbial.talent, and the King granted him a pension, with the
Agitation, which formed a characteristic feature of his help of which he went to Brussels, where he
life, was apparent, as we see, from his earliest years. had a course of lessons with Francois Gevaert, who
Before he was four years old he played the made him resume his studies on a more orderly
pianoforte in public in Barcelona, and he played so He also studied the pianoforte with Brassin.
basis.
well that the audience at first thought there was some While at Brussels, he gave a concert, the proceeds of
deception, and that someone behind the curtain which was were sufficient to enable him to realise his
performing what the child seemed to* be playing.dearest At dream, that of seeing Franz Liszt, who then had
the age of six he went to Paris, accompanied byjust his given his last public concert (at Hanover, 1877),
mother and sister. At first the two children received
and was dividing his time between Weimar and
instruction from Marmontel. Isaac had already at
Rome.
this time a strong desire to compete for a prize at the
Albeniz left for Weimar. We have unfortunately no
Conservatoire, and with imperturbable seriousness he
account of the first meeting of the young Spaniard
played brilliantly the most difficult exercises. When
with Liszt, but what an affinity there was between
he had finished he conceived the extraordinary idea of
these two men-the kindliness, the faith, of the one, the
taking from his pocket a ball and throwing it suddenly
exuberance of the other ! The admiration of Albeniz,
with great strength against one of the mirrors in the
and the pleasure Liszt took in the improvisations of
examination room. The noise made by the breaking
glass and the shock it gave to 'conservatorial' this young dmamon, gave birth to a great friendship, and
for the next two years their intercourse was frequent.
dignity rendered itimpossible for him to put in Albeniz an followed Liszt to Weimar, to Rome, and to
appearance at the Conservatoire for the next two Buda-Pesth.
years. Those who knew Albeniz during the last few
years of his life cannot call to mind this anecdote But thought had to be given to material things; he
must resume the career of the virtuoso. From the
without finding there the roguishness which always
remained a characteristic trait. His exuberance, his year I88o Albeniz again left for concert tours in Cuba,
gift for unexpected humour, his explosive gaiety, did in Mexico, in the Argentine Republic, and again later
not desert him even when death was upon him. in the principal towns of Spain, where enthusiasm
become almost delirious. The fatigues of journeys
Returning to Spain in I868, young Albeniz entered
the Conservatoire at Madrid. At this period he came and concerts meant little to a man of such vitality
under the spell of Jules Verne's stories of adventure, He was made manager of a 'Zarzuela' company
and his consuming taste for travel was by somewhich travelled all over Andalusia; but the public
people attributed to this fascination. The truthdisappointed
is the young manager, and he was forced
rather that he found in the books of the Frenchto recoup the losses of his troupe with what he
novelist matter congenial to his own temperament. earned with his pianoforte.
At the age of nine he escaped from his home and In 1883 he settled at Barcelona, where he married,
but financial difficulties compelled him to resume his
got into the first train he saw. Happily he soon met
the Alcalde of the Escurial, who interested himselfwandering
in life. Later he returned to Spain, and made
him and took him to the Casino, where he gave aa long stay in Madrid, where he remained up till
concert which made a great sensation. Afterwards about
he 1889.
was put in a train in order to go back to his parents,Then he travelled through Scotland, Holland, and
Germany. In London he was heard as a pianist, and
but on reaching Villalba little Albeniz mounted the
conducted several concerts at St. James's Hall,
train going in the opposite direction, and gave concerts
at Avila, Zamora, and Salamanca. He then decided Prince's Hall, Steinway Hall, and the Crystal Palace.
to return to his family with the little sum he hadWe find the following passage in a critique of the
earned; but at Penaranda he met with robbers who time:
left him nothing but the 'Memoirs' he had begun to We give a portrait of Albeniz, who creates a
write. Not wishing to go home empty-handed, he furore at the moment. He is one of the best
started journeying again, going from town to town pianists we have heard since Liszt. He reminds
giving concerts as an 'infant prodigy.' During the us of Rubinstein in his delicacy, and Hans von
next two or three years he acquired a considerable Billow in his vigour.
reputation: people everywhere talking of him as
'El niiio Albeniz.' How well founded was this estimate of his power

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536 THE MUSICAL TIMES.-DECEMBER I, 1917.
can be realised on turning to ' Musicos contem- 19oo he fell seriously ill, and his life was despaired of.
poraneos y de otros tiempos,' by Felipe Pedrell,He was taken to Spain, where his health improved,
who says: and two years were spent in Barcelona, and there he
I heard Rubinstein play his works for a roomful worked on the second part of his trilogy, 'Lancelot.'
of friends, but I did not feel the cold shiver which He had also conceived a great work that should be
went through me when Albeniz performed his Spanish in character, but when he began to write he
wonderful works to us with a fire which, as can again fell ill. A timely visit to Nice, however,
easily be understood, drove the London public restored his strength.
mad. In 1904 'Pepita Jimenez' was given at La Monnaie,
and again in Brussels in 1905. It was at this time
The last time Albeniz played in public was in that, overwhelmed with sorrow and anxiety, his wife
Berlin, in 1893, where he was given an enthusiastic very ill and his daughter at death's door, Albeniz,
reception. On his return to London, owing to thehoping to allay the anguish in his heart, began his
success which his incidental music to the words of
Suite for the pianoforte, 'Iberia,' that was destined
Armand Sylvestre had achieved he was requested to be histo
finest composition.
write music for 'The Magic Opal," a musical He comedy
had finished this work, and was beginning to
in three Acts, performed first at the Lyric Theatre and
afterwards at the Prince of Wales's. For some time express his thoughts more freely and in accordance
with his wishes, when from day to day he wasted
Albeniz was principal composer and conductor to the away, and in the month of May, 9o09, the flame of his
Prince of Wales's Theatre, and the amount of work
life was extinguished, at Cambo, on the Franco-
he accomplished was superhuman. He composed Spanish frontier, on the borders of the two countries
even at the theatre, and brought with him four he loved best.
copyists who copied as fast as he wrote.
But this work was wearing. He felt it, and he He who met Albeniz, were it but once, would
knew he was capable of achieving better things. The remember it to his dying day. At first his effusiveness
emptiness of the virtuoso's career came before him in could surprise, yes even displease, but soon one felt
a flash, and he relinquished it for ever, to devotethat a living fire inspired all his gestures, and that the
himself to creative effort having higher and moregreat soul of the man dominated his outward frame;
and to astonishment would succeed an affection which
personal aims. He hesitated at first whether to
go to Germany, where they clamoured for him, or to nothing could alter.
Paris. His hesitation was short ; his choice fell upon I do not think it possible for any other personality
Paris, and thither he went in 1893. to show such singular hat mony between head and heart.
It was but three years before, in Paris, that C6sarHis eager intelligence never outran his feverish love of
Franck had died, and, more recently, Edouard Lalo, life and things. On each one of the few-far too
in 1892 ; while poor Emmanuel Chabrier, in 1894,few-occasions I saw him he revealed to me some
stricken with illness and almost unconscious at the phase of personality that endeared him to me. H
first performance of 'Gwendoline,' was shortly was one of the first to give me an estimate of t
after-
wards also to die. But in 1893 Gabriel Faure young
had Spanish School, and in what glowing terms
just completed 'La Bonne Chanson,' the first spoke of the love he bore the musicians of France.
eight-
songs by Henri Duparc were shortly to be published The kindness and the generosity of the man we
(1894), Vincent d'Indy was writing 'Fervaal,'unsurpassable:
Ernest I could give a thousand proofs. H
Chausson had finished his Symphony and his'Concert' was sensitive without wishing it to appear, and' t
and was working on the Quartet and the 'Poem' goodness of his heart was a thing of much charm.
for Violin and Orchestra, Charpentier had recentlywas unstinting in his praise of others; his talk w
published his 'Impressions d'Italie' (1892), Debussy always of friendship, affection, or joy. I never s
him otherwise.
had had his ' Prelude I l'Aprbs-midi d'un Faune' and
his Quartet performed and had commenced' Pelleas et He steeped himself in music as the source of all
M6lisande,' and Charles Bordes had founded in 1892strength, but nothing in life itself escaped him, and
the Chanteurs de Saint Gervais and with d'Indy laidbehind his joyous exterior vibrated a heart responsive
the foundation for the Schola Cantorum. Is there into the least modulation of the soul. We find it in all
his work. What man can take the place of this
the history of French music a period richer in fulfilment
and in promise? The indifferent attitude towards marvellous fount of vitality; as for myself, I have
music was gone; people loved it passionately; never known in another such joy at being happy.
Even at the gates of death he retained this joyous
concerts assumed the aspect of rivalry; and everywhere
was manifested the aspiration of a young and feverishboyishness. In Brussels I heard tales of a thousand
generation. pleasant adventures of which he was the soul : jests,
None of these escaped Albeniz. He went to Paris, planned with much skill, and which the grave Gevakrt
himself did not escape. He enjoyed himself with
became firmly rooted there, and to his great love of Spain
he added an affection for France. He worked mostly juvenile gaiety, and the victims of his jests only loved
with librettos by an English author, Francis Coutts, him
and the more for them. One would have forgiven him
anything, for one was always his debtor. It is im-
composed musical comedies-' Antonio de la Florida,'
performed at Madrid in 1894 and at Brussels in 1904,
possible to recall him without allowing a smile to mingle
and 'Henry Clifford,' given at Barcelona in 1895. with the melancholy that one feels for the loss of
Later he produced his chief work for the theatre, him.
'Pepita Jimenez,' after the novel of Valera, which wasIt was wonderful to see him at the pianoforte,
playing
played for the first time at the Liceo in I897 ; then he his own works, in the last years of his life.
The
worked at ' Merlin,' the first part of a trilogy devoted tovirtuoso of former days had lost his cunning, his
the cycle of'King Arthur.' But the theatre did not fingers were not equal to the difficulties, and we
occupy all his thoughts. He composed pieces forwere the given the spectacle of Albeniz singing, stamping
pianoforte such as the sumptuous 'Vega,' and for with his foot, talking, making up with looks and
orchestra, as for example 'Catalonia,' admirable laughter
and the notes his fingers could not play. Dear
Albeniz! what performances of ' Iberia' will ever have
full of colour, played for the first time at the Colonne
Concerts in I899. for us the charm of these, when all your poet's soul
passed into those chords, that singing, that
Even the strong vitality of Albeniz could not sustain
the harassing care and overwork of this period.laughter
In !

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 THE MUSICAL TIMES.-DECEMBER I, 1917. 537

There is perhaps in all the history haunting emotionalno

of music sense of measured step and
stranger fate than that of Albenizgraceful : a man movement, of rhythms that intertwine and
suddenly
giving up all that had made him famous, separate as and
the heart wills. We find there also the
in the
middle of life's journey turning back charmto of tunefulness-now
take a new restrained, again melting
and difficult road. He knew the mad enthusiasm away, but ever present and dominant the exquisite
shown to the virtuoso alone; he had sung with earfacile
for this supreme quality of sound, for voluptuous
melodiousness the songs of his race; in the joy courne
in theof
sheer beauty of instrumental tone. Truly it
his jurneyings he had written hundreds of is only in
p;eces these two and in Debussy that we see it so
for
the pianoforte-one of these, the 'Spanish Serenade,'developed. And always there hovers the atmosphere
was spread throughout the world in thousands born ofofthe accompaniment, the art of expressive
copies, transcribed for the most varied instruments dissonances, while over and above these subtle
and exciting admiration everywhere. In his own harmonies there is the obsession of melody-fluid,
country no one met with greater success. He pro- living, and moving.
duced without effort; he wrote his first four hundred Neither in Schumann, in Liszt, or in Franck do we
pianoforte pieces in less time than it took him tofind these qualities. There is in them more power,
compose the thirty later ones. or more grandeur, often a more declamatory attitude,
but the wonderful feeling of intimacy, the hand which
Albeniz had a soul too lofty and a heart too sensitive
not to understand that thus he expressed only the guides us through the labyrinth of the soul or draws
superficial feelings of his race ; it was now no longerus to le fays qui te ressemble, as Baudelaire has it,
a question of enjoyment alone. He loved the country belongs alone to Albeniz and Chopin.
that was against him. Spaniards who adored the Yet one does not find in Albeniz the arresting
'Serenade,' the 'Orientale,' the 'Aragonaise,' and hesitancy, the poignant reticence, the chromatic
many other pieces, remained indifferent or even hostile
writing of Chopin which at times seems not to reach
to 'Iberia.' He was not influenced by this, he the end of its confession. In Albeniz the expressive
knew that in him was eloquent the voice of all form their is less delicate and more sure; his is a more
aspirations, and that one day they would see that robustwhat nature-less divine, more earthly ; but in
he had sung was verily the splendour of their country substance their charm is often akin. At times, too, a
and its radiant soul. similarity in melody joins them together, but one can
However, I do not like the opinion of those who hardly
set attribute this to the influence which Spain may
too little store by his early output in order to esteemhave had on Chopin during his short stay in the
only the later. In the middle of the works in his Balearic
first Isles. Their attitude towards popular art is
manner will appear suddenly in many places an the same: each imbued with the spirit of his race,
having each at heart the themes in which the soul of
unexpected intonation at the turning of a facile phrase.
One is conscious not so much of hasty workmanshiphis nation expressed itself, they do not borrow but
as of too great a facility; but in all that he re-create with the power of genius the conceptions
produced, what joie de vivre, and still more what that seem the very offspring of the soil, and thus pay
voluptuous beauty ! Of all this harvest of humble homage to their people.
flowers, living and fragrant, he has preserved for ' us Iberia' marks the summit of the art of Albeniz.
the essence to vivify later the reliquary of ' Iberia.'Albeniz alone could venture to place this title, both
The 'Preludes' and 'Etudes' of Chopin, the simple and proud, at the head of the twelve songs of
'Carneval' and 'Kreisleriana' of Schumann, the this poem. One finds here all that emotion and
'Years of Pilgrimage' of Liszt, the 'Prelude, Choral, culture can desire. The composer here reached
and Fugue' and the 'Prelude, Aria, and Final' of a sureness of touch and grasped an originality of
Franck, the 'Islamey' of Balakirev, the 'Estampes'technique which demand much attention and which
and ' Images' of Debussy, and the twelve poems have of no ulterior object. He even at times sacrificed
' Iberia,' will mark the supreme heights of music for perfection of form. There are no doubt fastidious
the pianoforte since 1830. It seems to me that these critics who will find blemishes, but such blemishes
are the compositions revealing best all the technical as exist are not detrimental to expression, and this
and expressive resources of the instrument. alone is important. In music there are many excellent
If a certain mental affinity, certain resemblancesscholars
in but few poets. Albeniz has all the power of
their lives, and the power of the virtuoso which they the poet-ease and richness of style, beauty and
both possessed, create a superficial similarity betweenoriginality of imagery, and a rare sense of
Albeniz and Liszt, we yet find, on penetrating deeper suggestion.
A list of the themes alone of ' Iberia' would suffice
into the works of the Spanish master, that it is rather
Chopin whom he resembles, in spite of a thousand to show their richness in melody and the variety of
divergences in general aspect and the apparent oppo-their rhythm. But more wonderful than the beauty of
sition of their temperaments. However, I see inthe themes is their suppleness and fluidity, their
them both the same depth of feeling, the samelanguorous intonation, or their heat and energy. That
richness. Theirs were those rare natures to whom in which Albeniz is inimitable is the atmosphere he
the pianoforte appeared the most suitable medium creates for
around a theme, the scenery with which he
the expression of their inmost thoughts ; but surrounds
there is the 'melodic personage '-a word, a song,
in Albeniz a stronger sense of the picturesque, or aa murmured
more confession. The method of Albeniz,
intense radiancy. His art is less reticent; it is a if one can use such a word with regard to him, is
question of latitude. almost inscrutable. It obeys only subtle and personal
laws. An expressive counterpoint, always ductile and
Albeniz intoxicates himself with nature, and through
her reaches himself, and nature only interests himfull in of movement, supports his themes, plays with
them or crosses them. The parts seem at times
so far as she is a help to his own feelings. But I see
in the one as in the other the same violent love of inextricably intermingled, and suddenly all is again
their race. They are both the fruit of the earth resolved in lucidity.
itself,
they are born of the soil and of themselves, without Sometimes the virtuoso of other days remembers
the aid of any masters or schools. the past and adorns his design with a few arabesques,
And if, setting aside for the moment their but with what moderation, when one remembers the
inherent
intensity of soul, we turn to glance at their oldworks,
habits which tempted him to overloaded pianistic
there is in both the same feehling of improvisation,ornament.a This is due, perhaps, as much to the

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538 THE MUSICAL TIMES.-DECEMBER I, 1917.

influence of France as to his own maturity.

remoteThe taste
keys. Twelve perfect fifths cannot be
for moderation, the sense of proportion, comprised
an indifference
accurately in seven octaves. Starting on
to useless developments characteristicC, ofbythethepurest
time F? is reached the G has obtained
French style, combined to wield a happyanother influence over altogether. - But the modern
significance
Albeniz. The technique of the French composer School, is on the
not under obligation to take any con-
other hand, had but little hold on him. One finds
sideration of these matters of tuning. On keyed
in his work only vague traces of Franckism or instruments, notes that are scientifically inaccurate
Debussyism; and the French School has cause to become identical. In the violin and trombone
be proud, for it helped to reveal Albeniz to himself. families, and with the singing voice, the accuracy of
His long sojourn, his friendships, his daily relationsintonation is entirely dependent on the sensitiveness
with all the young French musicians of his time, had of the performer, who is very likely, in association
no doubt exerted a restraining influence on him,with accompaniment, to modify his views to those of
without weakening in any way his pronounced the assistant instruments.
nationalism. In the orchestra, for instance, the horns achieve a
It was in Paris that 'Iberia' was first published, sharper fifth and a flatter major third than theoretical
and it was there also that the best of Albeniz's work precision would permit. In certain experiments by
was first appreciated, long before his compatriots Helmholtz, the intonation of Joachim, the violinist,
knew of its achievement. Remote from all that was subjected to a testing examination. The scientist
divides and differentiates the various parts of wasSpain,
satisfied that a recognised master of his instru-
her races, her past, her aspirations, he sang of Iberia,
ment, in an unaccompanied scale, intuitively took the
the peninsula. As a Catalonian he loved the ardour, just and not the tempered intervals. Science here
the energy, the patient will of his native province, but
discovered something that the practised auditor could
also he loved the perfume of Andalusia and her not always entertain as authoritative. The whole
nonchalant grace, and no one has better expressedmatter was so involved, and of so little interest to the
all of these attributes.
working composer, that the compromise of equalised
There does not yet exist a complete cataloguetemperament,
of as represented bythe most compromised
Albeniz's works. It is to be hoped that such will instrument,
soon the pianoforte, had inevitably to be accepted
be prepared, for even his smallest compositions have if any sort of progress were to be maintained in the
their attraction, and many agreeable surprises may be
development of the art of music. The relations of the
in store for us. His works comprise more than four scale of B major with that of Gb major are precisely
hundred numbers, published up and down the world those of C and G major. The variety is a matter of
in all his journeyings, and to gather material for pitch.
this You can be as sensitive as you like in your
task of compilation is no easy matter. appreciation of the just scale, but you cannot convey
Besides those already quoted, we find among his com-
your sensations by transcription. In the question of
positions for the pianoforte 'Songs of Spain' (Prelude,
notation, however, many interesting things are to be
Orientale, Seguidille), 'Preludes of Spain,' ' Spanish
discovered, and it is in this direction that the com-
Suite' (Estudio, Scherzo, Pavane, Barcarole), 'Suite poser can realise his temperamental susceptibilities.
Morisca,' nine Mazurkas, two 'Caprichos Estudios,' The composer, for one thing, has frequently directed
two 'Caprichos Andaluses,' Gavota, two 'Estudios notation to paths wherein the theorist refuses to follow,
de Concierto,' a Sonata, a Concerto, a Marcha probably because he will be caught tripping over
Nupcial, &c. For the orchestra, besides 'Catalonia,' ratios or other quantitative embarrassments. I do not
he wrote a Suite, Scherzo, 'Serenata Morisca,' wish to deny that the actual quality of chords and
'Capricho Cubano,' &c. There is also a Trio in enharmonic
F, progressions may be much more rich and
an Oratorio 'El Cristo,' a certain number of satisfying in just temperament, but under present con-
Zarzuelas, Catalanas de Gracia, 'El Canto de ditions the principles are not permitted to apply. The
Salvacion,' songs with 'Rimas' by Becquer, four songs has, perhaps, appreciated the finesse of the
composer
with French words, and songs with Catalonianmatter words.better than the theorist in his steering of the
It is difficult to make a choice in an output so
mid-course, and his feeling for the difference of beats
rich, so diverse, and so full of colour. is suggested most completely by means of explicitly
In the centre of the wonderful evolution of present-
indicative notation. Enharmonic change is his own
day Spanish music and of its marvellous fluorescence,
particular refuge in adjusting points of difference
stands Albeniz, incontestably its most remarkable
wherever they may arise in the cycle of tones at his
genius. The life-work of Albeniz is perhaps the onlyTo revert to this cycle of fifths, it is obvious
disposal.
image around which all Spain, whether from North or progression can be either upwards or down-
that the
South, assembles. One and all of the young composers
wards (Ex. 14), with ultimate arrival at the starting-
of Spain owe to him a debt. Though called away by
death his radiant heart remains with us.
Albeniz is Spain, as Moussorgsky is Russia, Grieg Ex.
.. ^ etc. ,, _
4. _ --
Norway, and Chopin Poland. Because they were so e .etc.

deeply of their own race, they are but the more human,
the more universal. point. But psychologically the tendency one w
other has especial significance. In seeking a p
His was one of the great, rare voices which, at rare
repose the falling fifth, since music became a f
intervals, earth gives to men to sing of the beauty of
earth and of the joys of mankind. speech, has exercised a supreme effect. The
divisions of the old Church Modes-Authentic and
Plagal-were provided with distinctive cadences, in
PRINCIPLES OF MODERN COMPOSITION. which the resting-point was approached from either
side of the fifth circle:
BY G. H. CLUTSAM. Authentic. Plagal.
(Continuedfrom November number, page 489.)

Undoubtedly the difficulty in utilising the cycle of

Ex. 15.
fifths as a basis for a scientific theory of harmony has
arisen from the system of equal temperament in al

tuning. One has inevitably to compromise in the ...

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