Some more pieces by Ernesto Halffter.

E. Halffter - Llanto Por Ricardo Vines (4:31) (Thanks Richard !)
E. Halffter - Pregon (3:29)
E. Halffter - Habanera (4:04)

And a re-recording of the Serenade a Dulcinee. Not a lot different from the previous one, but I think it is marginally better even despite a couple of tiny slips which probably won't be noticed unless you have played the piece yourself.

E. Halffter - Serenade a Dulcinee (5:53)

Goodness! I wish I could read a piece on Thurday evening and it recorded it by Sunday afternoon!

I shall listen.

Chris,
Regarding the Llanto for R.V., I just don't care for the music and stopped 1/3 of the way in.
Regarding Pregon, I like this very much! Please tell me it's in 5/8, because that what it sound like you're playing in. Nice character. I would wish for more melody (always )
Regarding the Habanera, as a Cuban-born American ...<clearing-throat sounds> I can tell you that you definitely have the spirit of it, but I really think it should go faster. This form was the ancestor of the Argentine Tango, so don't hold back. Your rendering sounds too tame for me.

Thanks for the recordings.

Regards.


Edit: Clarrified that I am an American of Cuban heritage.

Similar comments to Eddy. I don't "get" the first piece at all. The second is harmonically quite interesting; in particular there are some nice sonorities near the start. I think the Habanera should be a little faster and with more swing. I think it's got a lot of potential as an encore piece. Where do you find these things? It's not on IMSLP.

I think Hallfer has interesting harmonies - I wonder why I did not know about him before...
I liked "Habanera" the most. It sounds a lot like Albeniz' 'Tango' to me.
The Richard Vines one - again, really unusual chords here - sounds like he also had large hands.
The last one -neat sounds, but the piece seems to not know where it's going. Over all, nice playing - I enjoyed the music.

Maybe he buys the printed scores in a music shop? I do believe they still exist, such shops. I was in one the other day, myself, because the scores online just were not of comparable quality and by the time you add connection costs, electricity, toner and all that...

Obama in mind, just be careful we do not ask to see your birth certificate!

Thanks all for the comments.

I'm nonplussed about the negative reactions on the Llanto. I find this such an incredibly noble and deep piece. It is (I assume) an elegy or dirge on the death of Ricardo Vines, and for me it carries a palpable sense of loss and grief. True, I have a penchant for this kind of music, but I also think that musical tastes around here are rather conservative in that anything a bit unusual with a bit of dissonance is not appreciated.

So y'all think the Habanera should be faster. But actually it says In Tempo di Habanera, moderato assai, mm=58 to the quarter, which is exactly what I do.

Yes Dr. Eddy, the Pregon is in 5/8. It's actually subtitled 'Cuba'.

Apart from the Llanto, a copy of which I acquired only last week, these original scores have been in my large collection for a long time, probably 30 years or more. I used to buy a lot in the past.. I'd never really played them until about a month ago I suddenly fell in love with them

Indeed, llanto comes from the verb "to cry", so you are right: it is a dirge.

As I said...

I would concentrate on the Moderato, and completely ignore the metronomic indication, which I always accept as only a suggestion, hoping to find what I and the music feel is the best expression: thus differing interpretations.

Hm. I have a tendency to respect the composer's metronome markings (unless of course it's too fast for me to play).
Then again Halffter was not a Cuban so what did he know

Johannes Brahms said: "I am of the opinion that metronome marks go for nothing. As far as I know, all composers have, as I, retracted their metronome marks in later years."[Essentials of Music, READ BOOKS, 2008; ISBN 1443773697]

OMG... Can't argue with people quoting scripture

Hi Chris,

I listened to all three of the Halffter pieces. I believe you played them all very well. The "Llanto" certainly has obvious merit, but might be one of those pieces that bears a few hearings before one acclimates to it. The "Pregon" was my favorite--I like all the sassy dissonances there. It's a very attractive salon piece in the best sense of the term. The "Habenera" is a laid back piece that immediately ingratiates itself to the listener. In all of this music there are some very colorful harmonies that put a dash of modernism on this very tonal and melodic music.

David