To my knowledge, this book is the first comprehensive survey of solo piano music in Spain from the eighteenth century to the present. Throughout this study I have tried to be as detailed as possible; however, for some very early composers as well as for some recent ones, little information is available. Four chapters emphasize the major centers of activity, composers, and their compositions for piano. A separate chapter showing the influence of the guitar on Spanish keyboard music has been added because of the significance of the guitar and its particular techniques to the general history of Spanish music. The glossary defines the numerous Spanish dances and other terminology unfamiliar to the general reader.
The appendixes will supply the reader with much-needed information regarding anthologies and modern editions of early Spanish piano music and a selective list of more recent works. Because of the wide scope of this study, it has not been possible to give exhaustive information for the later music. For that reason, I would like to list here the major publishers of Spanish piano music: Union Musical Española, Madrid; Editions Salabert, Paris; Max Eschig, Paris; Sénart, Paris; Alphonse Leduc, Paris; Rouart Lerolle, Paris; Editorial de Música Española Contemporánea, Madrid; Editorial Alpuerto, Madrid; Southern Music Publishing Company, New York; Peer International Corporation, New York; Ediciones Armónico, Barcelona; Universal Editions, Vienna; Tonos, Darmstadt; and Moeck, Celle.
I am indebted to a number of persons for their help in the preparation and completion of this project. I am especially grateful to Jean R. Longland of the Hispanic Society of America for information on piano building in Spain; Hilda Mc Curdy for certain French translations; Jane Clark of London for information on Scarlatti and Spanish folk music and for first directing me to the music of Albero; Almonte Howell for information on Vicente Rodrìguez; John Lee for suggestions about the text; Mary Alice Price for her assistance with numerous items borrowed through Interlibrary Loan at the University of Texas at Arlington; James E. Richards for giving me research time on my faculty load; John Dowling for certain Spanish translations; and my wife, Kathy F. Powell, for her expert editorial suggestions in the text and typing of the final manuscript. I am also grateful to the following people in Spain: Maria Angela Otero of Union Musical Española, Madrid; Josefina Sastre of the library of the Orfeó Català, Barcelona; and Josefa Martorell of the Biblioteca de Catalunya, Barcelona.
I would also like to thank the American Philosophical Society and the Organized Research Fund of the University of Texas at Arlington for research grants in support of this project.
The following abbreviations are used in the text:
Lower-case Roman numerals indicate the specific movement of a work, e.g., Sonata in С major/ii. Arabic numerals given after a slash, such as in Sonata in D major/86-90, indicate measure numbers.
A system of short-title references has been used in the text and notes. Complete information on each reference can be found in the Bibliography.