Seven Spanish Folk Songs. Transcription for two pianos (2024)

Aron Solomonovich Bubelnikov (1911 - 1989), professor of the Leningrad (Petersburgian) Conservatoire, opera conductor, having brought up numerous young vocalists, devoted his spare time to piano — his true passion.
That was professor Pavel Serebryakov to have been inculcated thorough piano manner in Bubelnikov during the years of his conservatoire studying in Leningrad. Although his solo piano career was doomed to be left a dream, he was recognized as the skillful, dexterous and subtle participant of different piano ensembles.
These are Bubelnikov's brilliant transcriptions of symphonic and vocal masterpieces for two pianos that may abundantly express his fidelity to the king of instruments.
The vocal cycle "Seven Spanish Folk Songs" was composed by Manuel de Falla in 1915. These are actually the arrangements of intrinsic tunes collected all over the Spanish regions —Andalusia, Asturias, Aragona.
Manuel de Falla seems to have roused the genuine Spanish spirit; hence these utterances occurred to be much more than mere transcriptions. Here you are to plunge into the depths of the intrinsic Spanish psychology, where loftiness and simplicity, courage and tenderness are neighbouring together being part and parcel of the national character.
The skilful pianist Aron Bubelnikov was lured by Falla's collection. His rapture burst out into his composition for two pianos. Bubelnikov refuted the verses; meanwhile Falla's facture was enriched and transformed. The Russian pianist's imagination stained Falla's musical canvas into striking garish hues according to the piano ensemble's saturated palette.
The piece enjoyed its popularity already, being just a manuscript among beginning and mature duets. Certainly, it will be the white feather of any duet's repertoire in its published version.

Pavel Bubelnikov

Contents

1. MAURITANIAN SHAWL
2. ASTURIANA
3. SEGUIDILLA
4. JOТА
5. LULLABY
6. SONG
7. POLO

Aron Solomonovich Bubelnikov (1911 - 1989), professor of the Leningrad (Petersburgian) Conservatoire, opera conductor, having brought up numerous young vocalists, devoted his spare time to piano — his true passion.
That was professor Pavel Serebryakov to have been inculcated thorough piano manner in Bubelnikov during the years of his conservatoire studying in Leningrad. Although his solo piano career was doomed to be left a dream, he was recognized as the skillful, dexterous and subtle participant of different piano ensembles.
These are Bubelnikov's brilliant transcriptions of symphonic and vocal masterpieces for two pianos that may abundantly express his fidelity to the king of instruments.
The vocal cycle "Seven Spanish Folk Songs" was composed by Manuel de Falla in 1915. These are actually the arrangements of intrinsic tunes collected all over the Spanish regions —Andalusia, Asturias, Aragona.
Manuel de Falla seems to have roused the genuine Spanish spirit; hence these utterances occurred to be much more than mere transcriptions. Here you are to plunge into the depths of the intrinsic Spanish psychology, where loftiness and simplicity, courage and tenderness are neighbouring together being part and parcel of the national character.
The skilful pianist Aron Bubelnikov was lured by Falla's collection. His rapture burst out into his composition for two pianos. Bubelnikov refuted the verses; meanwhile Falla's facture was enriched and transformed. The Russian pianist's imagination stained Falla's musical canvas into striking garish hues according to the piano ensemble's saturated palette.
The piece enjoyed its popularity already, being just a manuscript among beginning and mature duets. Certainly, it will be the white feather of any duet's repertoire in its published version.

Pavel Bubelnikov

Contents

1. MAURITANIAN SHAWL
2. ASTURIANA
3. SEGUIDILLA
4. JOТА
5. LULLABY
6. SONG
7. POLO

Арон Соломонович Бубельников, профессор Ленинградской консерватории, оперный дирижер и воспитатель молодых вокалистов, большую часть своего досуга отдавал фортепиано — инструменту, которому был верен всю свою жизнь.
А. С. Бубельников прошел основательную фортепианную школу в консерваторском классе профессора П. А. Серебрякова. И хотя ему не суждено было стать концертирующим пианистом, в области аккомпанемента он всегда слыл ансамблистом тонким и виртуозным. Несомненным свидетельством его преданности фортепиано явились концертные переложения для двух фортепиано различных симфонических и вокальных произведений.
Вокальный цикл "Семь испанских народных песен" Мануэль де Фалья написал в 1915 году. Он представляет собой обработку подлинных народных напевов различных областей Испании — Андалузии, Астурии, Арагоны.
Проникновение автора в глубины народного духа позволяет видеть в этом сочинении нечто более значимое, чем обработку. Испанский национальный характер - возвышенный и простой, мужественный и нежный — имеет здесь наиподлиннейшее выражение.
Музыка "Испанских песен" вдохновила пианиста и дирижера, профессора Ленинградской консерватории Арона Соломоновича Бубельникова на создание произведения по мотивам "Испанских песен". Отказавшись от вербального текста, автор концертной обработки представил произведение М. де Фальи в новом фактурном выражении. Дав волю фантазии, он привнес в звучание песен оригинальный колорит, выраженный яркой палитрой возможностей фортепианного ансамбля. В течение многих лет концертная пьеса исполнялась разнообразными фортепианными дуэтами (в том числе и очень известными) по рукописи. Хочется верить, что, будучи изданным, переложение найдет еще более широкий круг исполнителей.

Содержание:

Мавританская шаль
Астуриана
Сегедилья
Хота
Колыбельная
Песня
Поло

Aron Solomonovich Bubelnikov, professor Leningradskoj konservatorii, opernyj dirizher i vospitatel molodykh vokalistov, bolshuju chast svoego dosuga otdaval fortepiano — instrumentu, kotoromu byl veren vsju svoju zhizn.
A. S. Bubelnikov proshel osnovatelnuju fortepiannuju shkolu v konservatorskom klasse professora P. A. Serebrjakova. I khotja emu ne suzhdeno bylo stat kontsertirujuschim pianistom, v oblasti akkompanementa on vsegda slyl ansamblistom tonkim i virtuoznym. Nesomnennym svidetelstvom ego predannosti fortepiano javilis kontsertnye perelozhenija dlja dvukh fortepiano razlichnykh simfonicheskikh i vokalnykh proizvedenij.
Vokalnyj tsikl "Sem ispanskikh narodnykh pesen" Manuel de Falja napisal v 1915 godu. On predstavljaet soboj obrabotku podlinnykh narodnykh napevov razlichnykh oblastej Ispanii — Andaluzii, Asturii, Aragony.
Proniknovenie avtora v glubiny narodnogo dukha pozvoljaet videt v etom sochinenii nechto bolee znachimoe, chem obrabotku. Ispanskij natsionalnyj kharakter - vozvyshennyj i prostoj, muzhestvennyj i nezhnyj — imeet zdes naipodlinnejshee vyrazhenie.
Muzyka "Ispanskikh pesen" vdokhnovila pianista i dirizhera, professora Leningradskoj konservatorii Arona Solomonovicha Bubelnikova na sozdanie proizvedenija po motivam "Ispanskikh pesen". Otkazavshis ot verbalnogo teksta, avtor kontsertnoj obrabotki predstavil proizvedenie M. de Fali v novom fakturnom vyrazhenii. Dav volju fantazii, on privnes v zvuchanie pesen originalnyj kolorit, vyrazhennyj jarkoj palitroj vozmozhnostej fortepiannogo ansamblja. V techenie mnogikh let kontsertnaja pesa ispolnjalas raznoobraznymi fortepiannymi duetami (v tom chisle i ochen izvestnymi) po rukopisi. Khochetsja verit, chto, buduchi izdannym, perelozhenie najdet esche bolee shirokij krug ispolnitelej.

Soderzhanie:

Mavritanskaja shal
Asturiana
Segedilja
Khota
Kolybelnaja
Pesnja
Polo

Seven Spanish Folk Songs. Transcription for two pianos (2024)
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