Enrique Granados

He created a piano school in Barcelona, the Acadèmia Granados, which has produced a long list of talented pianists, with such notable figures as Frank Marshall and Alicia de Larrocha. He died in the attack on the SS Sussex, in the English Channel, when it was torpedoed by the German navy during the course of World War I. He had received the Order of Charles III and the French Legion of Honour. Granados' personal collection is preserved in the Library of Catalonia and the Museu de la Música de Barcelona, and includes his epistolary collection with letters from Pablo Casals, Enrique Fernández Arbós, Jules Massenet, and others.

Enrique Granados studied at Conservatori Superior de Música del Liceu. Training under Joan Baptista Pujol, Felip Pedrell and Charles-Wilfrid de Bériot is recorded. Frank Marshall, Conchita Badía and Alicia de Larrocha are recorded as having studied under Enrique Granados. The recorded working language is Catalan and Spanish. Subjects and genres recorded for the work are classical and sardana. Residence is recorded at Barcelona and Lleida. Works named in the authority record are Goyescas, Partitura, Danzas Españolas and María del Carmen. Work by Enrique Granados is recorded in the collections of Girona Museum of Art. Distinctions recorded are Order of Charles III, Knight of the Legion of Honour and Officier de l'Instruction publique.

• Illustration — Enrique Granados and Andrés de Segurola in 1915 Pantaleón Enrique Joaquín Granados Campiña was born in Lleida, Spain, the son of Calixto José de la Trinidad Granados y Armenteros, a Spanish army captain who was born in Havana, Cuba, and Enriqueta Elvira Campiña de Herrera, from Santander, Spain. As a young man he studied piano in Barcelona, where his teachers included Francisco Jurnet and Joan Baptista Pujol. In 1887 he went to Paris to study. He was unable to become a student at the Paris Conservatoire, but he was able to take private lessons with a conservatoire professor, Charles-Wilfrid de Bériot, whose mother, the soprano Maria Malibran, was of Spanish ancestry. Bériot insisted on extreme refinement in tone production, which strongly influenced Granados' teaching of pedal technique. He also fostered Granados' abilities in improvisation. Just as important were his studies with Felip Pedrell. He returned to Barcelona in 1889. His first successes were at the end of the 1890s, with the opera María del Carmen, which attracted the attention of King Alfonso XIII. In 1903, Granados participated in a competition organized by Tomás Bretón of the Madrid Royal Conservatory, which awarded a considerable sum of 500 pesetas for the best "concert allegro" for solo piano. Granados submitted his Allegro de concierto, Op. 46, for which the jury declared him the winner with an almost unanimous vote. The win brought Granados to national attention. In 1911 Granados premiered his suite for piano Goyescas, which became his most famous work. It is a set of six pieces based on paintings of Francisco Goya. Such was the success of this work that he was encouraged to expand it. He wrote an opera based on the subject in 1914, but the outbreak of World War I forced the European premiere to be canceled. It was performed for the first time in New York City on 28 January 1916 and was very well received. Shortly afterwards, he was invited to perform a piano recital for President Woodrow Wilson. Before leaving New York, Granados also made live-recorded player piano music rolls for the New-York-based Aeolian Company's "Duo-Art" system, all of which survive today and can be heard – his last recordings.

A delay in New York, incurred by accepting a recital invitation, caused him to miss his boat back to Spain. Instead, he took a ship to England, where he boarded the passenger ferry SS Sussex for Dieppe, France. On the way across the English Channel, the Sussex was torpedoed by a German U-boat, as part of the German World War I policy of unrestricted submarine warfare. According to witness Daniel Sargent, Granados' wife, Amparo, was too heavy to get into a lifeboat. Granados refused to leave her and positioned her on a small life raft on which she knelt and he clung. Both then drowned within sight of other passengers. However, according to a different account from another survivor, "A survivor of the 1916 torpedo attack on a Cross channel ferry, Sussex, recognised Spanish composer Granados in a lifeboat, his wife in the water. Granados dived in to save her and perished." A subsequent account claims that Granados sank to the bottom of the ocean while attempting to save his wife due to a money belt fastened to his waist which was filled with gold from his American performances. Due to the unstable global economy as a result of World War I, Granados insisted on being paid in gold. The personal papers of Enrique Granados are preserved in, among other institutions, the National Library of Catalonia.

• 12 danzas españolas (1890) for piano; Op. 37, H. 142, DLR 1:2. The contents of the four volumes are: Vol. 1: Galante (or Minueto), Oriental, Fandango (or Zarabanda); Vol. 2: Villanesca; Andaluza (or Playera); Rondalla aragonesa (or Jota); Vol. 3: Valenciana; Sardana (or Asturiana); Romántica (or Mazurca); Vol. 4: Melancólica (or Danza Triste); Zambra; Arabesca. • María del Carmen (1898), opera • Allegro de concierto (1904) • Escenas románticas (1903) for piano. The individual "scenes" are: Mazurca; Berceuse; Allegretto; Mazurka; Allegro appassionato; Epílogo • Dante (1908), symphonic poem • Tonadillas al estilo antiguo, H136 (1910) for voice and piano, settings of a group of poems by Fernando Periquet. Titles of individual songs in the collection are: "Amor y odio"; "Callejeo"; "El majo discreto"; "El majo olvidado"; "El majo tímido"; "El mirar de la maja"; "El tra-la-la y el punteado"; "La maja de Goya"; "La maja dolorosa I (Oh muerte cruel!), II (Ay majo de mi vida!), and III (De aquel majo amante)"; "La currutacas modestas" (duet). • Canciones españolas for voice and piano. Titles of individual songs in the collection are: "Yo no tengo quien me llore"; "Cantar I"; "Por una mirada, un mundo"; "Si al retiro me llevas..."; "Canción"; "Serenata"; "Canto gitano". • Cançons catalanes for voice and piano. Titles of individual songs in the collection are: "L'ocell profeta"; "Elegia eterna"; "Cançó de gener"; "Cançó d'amor"; "Cançoneta"; "La boira". • Goyescas (1911), suite for piano, subtitled "Los majos enamorados". It consists of six pieces in two books. Movements are: Book 1: "Los requiebros"; "Coloquio en la reja"; "El fandango de candil"; "Quejas o La maja y el ruiseñor"; Book 2: "El amor y la muerte"; "Epílogo (Serenata del espectro)". "El pelele", although not published as part of the Goyescas, is usually appended to it. In performance it is played as the seventh and last piece. It is based on the music of the opening scene of Granados's opera Goyescas, in which a "pelele" is being tossed in the air by the "majas". • Bocetos (1912) which contains: "Despertar del cazador"; "El hada y el niño"; "Vals muy lento"; "La campana de la tarde". • Colección de canciones amatorias (1915) for voice and piano. Titles of individual songs in the collection are: "Descúbrase el pensamiento de mi secreto cuidado"; "Mañanica era"; "Llorad, corazón, que tenéis razón 'Lloraba la niña'"; "Mira que soy niña"; "No lloréis, ojuelos"; "Iban al pinar 'Serranas de Cuenca'"; "Gracia mía". • Goyescas, opera, 1916 • 6 Estudios expresivos • 6 Piezas sobre cantos populares españoles, which include: "Añoranza"; "Ecos de la parranda"; "Vascongada"; "Marcha oriental"; "Zambra"; "Zapateado" • Madrigal, for cello and piano • 8 Valses Poéticos, for piano, including No 6 "Vals Poético" • Trío, for piano, violin, and cello • "Military March", for piano, Op.38

* * * * * • San-Juan, Pablo Vila: Papeles íntimos de Enrique Granados. Amigos de Granados, 1966. • Perandones, Miriam: "El compositor catalán Enrique Granados Análisis de tres canciones de concierto: La boyra (1900), Cansó d’amor (1902) y Elegia eterna (1912)". Recerca musicològica, nos. 20–21, 2013–2014, pp. 277–304 • Perandones, Miriam: "La canción de Enrique Granados: un microcosmos estilístico", Cuadernos de música iberoamericana, Vol. 22, 2011, pp. 151–186 • Perandones, Miriam: "Enrique Granados en París: la construcción de un icono español en el ámbito musical internacional", Revista de Musicología, Vol. 34, Nº 1, 2011, págs. 203–232. • Perandones, Miriam: "Estancia y recepción de Enrique Granados en Nueva York (1915–1916) desde la perspectiva de su epistolario inédito", Revista de Musicología, Vol. 32, Nº 1, 2009, pp. 281–295. • Comentaris a la gravació de la suite "Goyescas" per a piano. Joaquín Achúcarro, RCA Records, Madrid, 1980. D.L. M 8232-80 • Historia de la Música Española. Siglo XIX. Carlos Gómez Amat, Alianza Música, 1984. • Enrique Granados (su obra para piano). 2 vols. Antonio Iglesias, Editorial Alpuerto, 1985–1986. i 84-3810101-1 • Granados. Antoni Carreras i Granados, Nou Art Thor, 1988..