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Mateo Albéniz

The less popular and previously of both Spanish composers bearing the surname Albéniz is a relatively forgotten figure today, though Mateo Albéniz (simply no regards to Isaac) enjoyed great success throughout a lot of Spain in the past due eighteenth and early nineteenth centuries. The writer of many functions for harpsichord and fortepiano, aswell as much sacred functions, including Mass configurations and Vespers, Albéniz is normally displayed in concert today by an individual function, his Piano Sonata in D. It really is a piece that is in the repertory of Alicia de Larrocha, Felicja Blumental, and many additional major pianists through the twentieth hundred years, and a function still frequently performed in transcription type by Julian Bream, John Williams, and additional famous guitarists. It might be easy to claim that Albéniz’s additional keyboard functions and spiritual music are worth revival, but therefore little is well known of these and, at least regarding his sacred music, no reasonable judgment could be produced since there were no latest recordings or shows from it. Albéniz’s well-known Sonata in D continues to be available on several recordings over time from major brands such as for example Sony Classics, Philips, Deutsche Grammophon, and Decca. Mateo Antonio Pérez de Albéniz was created around 1755 in the Basque (North) area of Spain. Practically there is nothing known of his early existence, though his contact with music surely arrived through the chapel, probably like a son chorister. Albéniz was a talented key pad player, been trained in theory and structure. He kept at least three articles as maestro de capilla at main churches in North Spain, beginning the 1st, in San Sebastian, around 1790. From 1795 to 1800 he approved the visit of maestro de capilla in Logrono, and for pretty much another three decades offered in that capability once again in San Sebastian, this time around at Santa María la Redonda, his 1829 pension probably the consequence of declining health. A lot of Albéniz’s sacred music was created for performance on the churches where he offered as maestro de capilla and became broadly performed throughout North Spain in the first nineteenth hundred years. Many manuscripts of the still unpublished functions have survived, luring someone to speculate that shows could be forthcoming. Albéniz was also an important music theorist, marketing the music of Mozart and Haydn to his learners and creating a significant volume (released in 1802) over the performance of contemporary and early music.

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