guitarrista wrote:If you are curious as to who has arranged the piece that way ...
Parkening and Abe immediately spring to mind.
On another tack:
I've long been puzzled as to why guitarists take such an agressive line on this piece given its title. I came to it through the piano where the initial markings are quiet
. Any flamenco characteristics possibly alluded to in the sub-title are surely subtle and understated.
We appear these days to assume that malagueña
thing - but, at the time of composition, might there have been folk songs of greater variety emanating from the region? I'm just posing the question - I don't know the answer.
In any case - the first section of Rumores
barely rises above mezzo piano
, dropping right down to pianissimo
preceding the slower cantando
which itself does not rise beyond a mezzo forte
... at most.
There follows the Lento
with its brief (a mere five notes) declamatory cry. This call, rendered with a startling fortissimo
, immediately drops back to a quite distinct and deliberate piano
which the composer marks sempre
i.e. always quiet
for the tempo primo
The brief - and slow
- cadenza offers one more moment of increased volume (duration less than one beat) before returning to piano
for the recapitulation.
The whole work has an air of contemplation tinged with presentiment, the cantando
passages perhaps suggesting nostalgic reminiscence whilst the culminating diminuendo
reaffirms a sense of presage ...
Then there's the question of tempo - if we take the title at face value just how should one represent murmurings in the cove