![]() The whole work has an air of contemplation tinged with presentiment, the cantando passages perhaps suggesting nostalgic reminiscence whilst the culminating diminuendo reaffirms a sense of presage. The brief - and slow - cadenza offers one more moment of increased volume (duration less than one beat) before returning to piano for the recapitulation. This call, rendered with a startling fortissimo, immediately drops back to a quite distinct and deliberate piano which the composer marks sempre i.e. There follows the Lento with its brief (a mere five notes) declamatory cry. In any case - the first section of Rumores barely rises above mezzo piano, dropping right down to pianissimo preceding the slower cantando which itself does not rise beyond a mezzo forte. We appear these days to assume that malagueƱa means one thing - but, at the time of composition, might there have been folk songs of greater variety emanating from the region? I'm just posing the question - I don't know the answer. Any flamenco characteristics possibly alluded to in the sub-title are surely subtle and understated. I came to it through the piano where the initial markings are quiet and melancholy. I've long been puzzled as to why guitarists take such an agressive line on this piece given its title. ![]() Parkening and Abe immediately spring to mind. ![]() Guitarrista wrote:If you are curious as to who has arranged the piece that way. ![]()
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