Gaulitana 2025 Review: Echoes from Spain

This was the first event of the current festival edition which I was able to follow. What a splendid experience it turned out to be! It provided a splendidly unforgettable taste of Spain.

Salvador Sanchez is just 25 years old yet he has all the attributes of a very fine pianist. Not only that, he has a pleasant disposition which enables him to interact freely and easily with the audience, who were conquered by his genuine charm.

Although Goyescas was the major work on the programme, Salvador Sanchez chose to begin the concert begin with El Puerto from Book 1, n.2 from the other great Suite Iberia by Isaac Albéniz (see below). It was inspired by the port of Santa Maria in Cádiz.

Goyescas is one of two great piano cycles which emerged from Spain between 1905 and 1911. It is by Enrique Granados (1867-1916) consisting of two Books (1908-11). The other great cycle is Iberia (1905-9) in four Books by the slightly older Isaac Albéniz (1860-1909). Both were to die at the age of 49.

It has to be said that of the six Goyescas by Granados, only one of them, the 5th: El Amor y La Muerte (Balada) is directly inspired by a Goya painting. Another one which technically is not part of the cycle but often performed with it is El Pelele ( The Straw Dummy or Puppet).

The Suitenor cycle is subtitled Los Majos Enamorados (Gallant men in love). Goya (1746-1828) had his own special style and its allure inspires Granados to put his impressions in music. They are like a journey into the world of these men and women about town who had their own social set and their own rules. Just like everybody else they have their ups and downs and contrasting emotions.

It is rilliantly written, very difficult and highly ornamented. They need a powerful pair of hands to do justice to the work. Power yes but not brute force and a deft dexterity which Sanchez mastered with ample ability. This was couched with great sensitivity and warmth. His profound musicality is such tha he seemed to an extension of the piano itself.

Salvador Sanchez guided the public along this musical journey with excellent guiding skill. In N.1, Los Requiebos (The Compliments), courtship in gallant style of the majos and majas. Somewhat if an extension if this was N.2, Coloquio en la Reja (Conversation at the Window) reflecting the conventional courtship if the time: tender, passionate and impatient.

N.3, El fandango de Candil (Fandango by Candlelight) strongly rhythmic zapateado adding a sense of nocturnal intrigue.

N.4 is perhaps the best-known, titled Quejas o La Maja y el Ruiseñor (Complaint of the girl and the Nightingale). A girl, possibly deluded by a faithless gallant cousins but,one supposes she finds consolation on the song of the nightingale evoked by the piano”s silvery thrills. The atmosphere here is like a Nocturne.

N.5, El Amor y La Muerte ((Love and Death) is an eternal theme and a fundamentally stark reality leading to the surreal atmosphere of a spectre still being serenaded by the bereft surviving half on a couple. This was strongly improvisational in character, a trait which pervades most of the cycle but in more subtle doses.

Thus ended this Granados masterpiece to the acclaim of the audience. Made me feel how tragic it was for the composer to lose his life so prematurely, together with his wife drowned when the ferry they were on was torpedoed by a German submarine in the English Channel. The loss music was great.

As often happens with a performance if Goyescas, pianists tend to perform El Pelele and Señor Sanchez no less, much to the delight of the audience. He generously conceded a other encore. This was Lavapiés, N.3 from Book 3 of Albeniz’s Iberia and inspired by a particular neighbourhood in central Madrid.

I am certain that in future Salvador Sanchez will be more than welcome to return another edition of Gaulitana.