1955 Ernesto Lecuona Plays Lecuona At The Piano Vinyl LP Record VG+

Description: Yes we combine shipping for multiple purchases.Add multiple items to your cart and the combined shipping total will automatically be calculated. 1955 Ernesto Lecuona Plays Lecuona At The Piano Vinyl LP Record VG+ Vinyl / Jacket Grade Per Goldmine Standard: VG+ / VG+; Jacket still in shrink SIDE 1MALAGUENA (From “Andalucia Suite”) (BMI 3:10)ANDALUCIA (From “Andalucia Suite”) (BMI 2:14)ANTE EL ESCORIAL (At the Escorial) (BMI 4:00)SAN FRANCISCO EL GRANDE (St. Francis the Great)(BMI 4:27)SIEMPRE EN MI CORAZON (Always in My Heart)(ASCAP 2:20)MARIA LA 0 (Maria My Own) (BMI 2 JO)SIBONEY (ASCAP 2:37)NOCHE AZUL (Starry Blue Night) (BMI 2:20)SIDE 2LA COMPARSA (From “Danzas Afro-Cubanas”) (BMI 1:58)DANZA NEGRA (From “Danzas Afro-Cubanas”) (BMI 2:03)DANZA LUCUMI (From “Danzas Afro-Cubanas”) (BMI 2:25)A LA ANTIGUA (From “19th Century Cuban Dances”) (BMI 1:53)EN TRES POR CUATRO (In Three-Quarter Time) (BMI 1:40)CANTO DEL GUAJIRO (Song of the Rancher) (BMI 2:08)LA HABANERA (bmi 2:22)DAMISELA ENCANTADORA (Beautiful Maiden) (BMI 3:11)CRISANTEMO (Chrysanthemums) (BMI 2:42)ROMANTICO (From “Vaises Fantasticos”) (BMI 2:27)Zrnesto Cecuona was Cuba’s leading com-poser. A giant among musicians of world-wide stand-ing, and certainly one of the most versatile—he -wrotein almost every musical form, and in each magnifi-cently enriched our experience and broadened ourpleasure. He was a serious composer whose popularmusic was in no way affected by “classical” manner-isms, and a popular composer whose gift for melodycarried unerringly into his more intellectually signifi-cant work.Since it is generally conceded that no one inter-prets a composer’s work with quite the same enthu-siasm and understanding as the composer himself,Senor Lecuona was flown to New York for the ex-press purpose of making these recordings. His key-board technique was equally as imposing as the talenthe lavished on his varied compositions—all-embrac-ing, warm and sure, with a light-hearted touch whichkindles a unique personal glow.Above all, Senor Lecuona was a romantic—a qual-ity which may be distinctly heard in any of the selec-tions of this album, as well as in the composer’sperformances—and his was a romanticism whichcolors not only those paeans to romance which havebecome some of his greatest popular successes, butwhich may also be seen and felt in the somewhatmore abstract music which is made to suggest a mood,describe a place or a personage, or evoke a nationalcharacteristic.The height of Lecuona’s “Latinism” (or “national-ism”) is to be heard in the first few selections of thisalbum—music) which may be justly described as be-ing from the coiiiposer’s “Spanish period.” Mala-guena and Andalucia—each uf which celebrates aparticular province of the Iberian Peninsula—hardlyrequire an introduction to even,'the most desultory ofmusic listeners, for these are by qnd large Lecuona’smost frequently encored works in the semi-classicalvein; they are full of a robust, sparkling vitality andsunshine which are particularly Spanish, and the lushsounds of the music itself pile image upon flashingimage. But it is in Ante El Escorial and San Franciscoel Grande, music of a more “serious” bent, that theftul effect of Lecuona’s imagination may be heard.Each of these full-bodied works—the first describestlie view before the palace near Madrid built byPhilip II; the latter is .a musical interpretation of St.Francis—is, in effect, a tone painting, a combinationof individual notes which gives this music an over-powering impact.Lecuona’s “popular” music is just that—musicwhich has found a special niche in almost everycorner of the world. Here, in such well-loved tunesas Siempre en Mi Corazon (Always in My Heart),Siboney, Maria La 0 (Maria My Own) and NocheAzul (Starry Blue Night), we can hear those “every-day” Latin sounds which no other composer hasbeen able to approach with such distinction, whichno one else has been able to create and projectwith such a profound feeling of what they really are.These are, indeed, as much a part of our backgroundas they are of Cuba’s.In his three Afro-Cuban dances—the extremelywell-known La Comparsa, Danza Negra (Dance ofthe Black People) and Danza Lucumi (which swingfans will perhaps remember from an old Artie Shawrecording)—Lecuona has skillfully captured thesights and sounds of the Cuban Carnival. This is asavagely rhythmic music, with a pulse which beatsthrobbingly and gaily from beginning to end. Theyare happy dances and their moods and rhythmsspeak evocatively of the color and abandon of theMardi Gras.From Lecuona’s “rhythmic” period we hear thefascinating En Tres por Cuatro (In Three-QuarterTime); from what may very well be his most “Euro-pean” era comes the delicate and charming A laAntigua. His understanding and feeling for the lifeof his native land are perfectly demonstrated in theCanto del Guajiro (Song of the Rancher) and LaHabanera (The Woman of Havana). But it is un-doubtedly in his waltzes—the most famous and pop-ular Ddmisela Encantadora (Beautiful Maiden),Crisdntemo (Chrysanthemums) and Romdntico—that we can hear the entire scope of Lecuona’s roman-ticism both as a composer and pianist. Here, all issweetness, every note falls gracefully into place, pro-ducing the effect of swiftly-running water. But this isnot facile music—even the delightfully amusingwaltzes dig beneath the surface to uncover facetswhich one would not believe the music to possess.His music—in all forms—has an energy and appealwhich continue to live and grow, which can but showus, in the most remarkable way, the sights and soundsand colors which are Latin life.Bill Zeitung Thank you for your business. Gallimoresgoods

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End Time: 2025-01-20T21:08:18.000Z

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