Albêniz’s ‘Leyenda’- open to interpretation

Interpretation is key to making music more than the robotic sounding of written notes on a page. It plays a large part in ensuring music remain an art, rather than a means of sequencing sound (this too can be a form of art, when done well, but that’s another article altogether).

I was recently asked to perform Spanish guitar music at a friend’s wedding service. Amongst other choices was Leyenda (meaning ‘legend’), one of the ‘big’ pieces classical guitar repertoire. Originally written by Spanish composer Isaac Albêniz (1860-1909) for piano, but transcribed for guitar within Albêniz’s lifetime.

The most famous transcription of this piece is by Andrés Segovia. Hear the great player performing it himself on this YouTube video. You may notice that Segovia’s interpretation is slower than more recent recordings. I’ve had some pretty interesting discussions with guitarists in the last few weeks and months regarding artistic interpretation. In almost all of these chats, the focus has been on the interpretation of the performer

However, what we hadn’t considered is the interpretation of the composer, or the arranger. When I say arranger, I mean one who transcribes music for other musicians to perform, rather than a player making interpretive changes solely for their own performance.

I came across a great article by composer & arranger Stanley Yates about this piece, which I wholeheartedly recommend you read here. In this article, Yates not only provides a large (and most welcome) amount if background information on the piece, but explains why his new arrangement differs more from Segovia’s than you might expect. The chief differences for me are the absence of sixteenth triplets in the opening section, which was Segovia’s invention (be honest, how many of you knew that?!) and a few differences to the interval of certain ‘grace notes’.

You can download Yates’s arrangement of Leyenda for free via this link to his website. I strongly recommend that you do this, in order to see these differences for yourself, and experience a very different side to a piece you thought you knew intimately.

The source for Yates’s arrangement is the original published piano work. He argues that he has attempted to stay true to the original piece without being pressured by the subsequent traditions of this piece which have grown over the last century. To say any more would be to rob Yates’s article completely – take some time to read it for yourself, and as always, please let me know your thoughts. Artistic interpretation has been a keen area of interest to me for a long time, and I am happy to open up a long-running conversation on the topic with readers & fellow music lovers. Get in touch!

Tim x

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3 thoughts on “Albêniz’s ‘Leyenda’- open to interpretation

  1. markwitney

    Right, first impressions….love the Amb9 or Aug 6 chord. There are some very nice changes that will require some further attention and bars 112-114 I have no idea how to finger that yet and retain the flow, I will need giant hands unless I am missing something. Some of his changes to the B section lose depth for me, but I will try both for a while and create my own version. I do like the way the fingering works in bars 33/34/35 and the double note arpeggio at the end of the A section is reminiscent of John Williams version (and others). Lots of food for thought! Thank you for sharing.

    Reply
    1. timguitar Post author

      I almost feel as if a few extra fingers would help with the B major to C major changes (with all the chromatic passing notes towards the end of the A section). It’s worth saying that this piece sounds just as beautiful & majestic slowed down slightly…
      Tim x

      Reply

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