Enrique Granados

Enrique Granados
Photograph from before 1900.
Parent(s)	Calixto Granados Armenteros Enriqueta Elvira Campiña

Enrique Granados Campiña (Lérida, July 27, 1867 – English Channel, March 24, 1916) was a Spanish composer, pianist and teacher associated with the modernist movements. He is known mainly for his piano works, especially the suite Goyescas (1911), on which he also based the opera of the same name.

He created the school of piano in Barcelona, which has produced figures as notable as Frank Marshall, Monserrat Torrent, Narcisa Freixas, Rosa Sabater, Alicia de Larrocha, Albert Attenelle and Douglas Riva. He is usually placed within the modernist movements, especially Symbolism. He died in the sinking of the ship Sussex in the English Channel, when it was torpedoed by the German navy during the First World War.

Enrique Granados's personal archive is preserved at the Library of Catalonia and at the Barcelona Music Museum.

Biography

Childhood

Granados as seen by Ramón Casas (MNAC).

Enrique Granados was the son of Calixto Granados Armenteros and Enriqueta Elvira Campiña. His father had been born in what was then the Spanish province of Cuba, and was a Colonel of infantry. Elvira had been born in Santander, Cantabria.

Enrique Granados, whose full name was "Pantaleón Enrique Joaquín Granados Campiña", was born in Lérida on July 27, 1867, where his father was stationed at the time, but shortly afterward the family moved to the Canary Islands, his father having been appointed military governor of Santa Cruz de Tenerife. The Granados family remained there three and a half years, which were enough to leave an indelible mark on young Enrique. In later years Granados would remember that time in the Canaries with immense affection, frequently referring to the orchard of orange and lemon trees that he could see from the window of his house as "the paradise of his childhood".

In 1874 the family moved to Barcelona. The family settled first on Calle Fenosa, and later on the Paseo de Gracia. By then Enrique already showed a clear inclination toward music, which his parents encouraged with the help of a fellow officer of his father, Captain José García-Junceda, who gave young Granados his first music lessons and advised his parents to hire a piano teacher, Francisco Javier Jurnet, who taught him between 1878 and 1882.

Granados did not attend school because of his delicate health, which allowed him to concentrate on his musical studies. Apparently Enrique often played for visitors, and one of them, the pianist Joan Picó, persuaded his mother to go and visit the teacher Juan Bautista Pujol (1835–1898), considered at the time the best piano teacher in Barcelona.

Pujol was a brilliant pianist and a well-known composer. He had studied at the Paris Conservatory with Charles Wilfrid de Bériot, himself a pupil of the legendary Sigismond Thalberg. Pujol had written a new method for the study of the piano, the Nuevo mecanismo del piano, on which, besides Granados, other composers of the period were trained, such as Isaac Albéniz (1860–1909), Carles Vidiella (1856–1915) and Joaquim Malats (1872–1912). Pujol's contribution to the founding of the so-called "Catalan School of Piano" has been described as "a contribution to the emphasis on clarity, color and mastery of the secrets of the pedals… a style of playing that suggests improvisation, with the added charms of elaboration and embellishment that it entails".

Granados began his studies with Pujol in 1882. On May 27, 1883, he was awarded a prize together with several fellow students in a competition of the Academy for novice pianists, in which the required work was Schumann's Sonata in G minor as well as a work commissioned from Martínez-Imbert whose score he was seeing for the first time. Among the members of the jury were Isaac Albéniz and Felipe Pedrell (1841–1922). That appears to have been the first occasion on which Granados met this important critic, musicologist, teacher and composer, from whom he received advice on instrumentation in 1891. From then on Granados and Pedrell maintained little personal contact; in 1911 they clashed in a bitter controversy.

Café pianist

In January 1886 Enrique Granados began playing five hours a day at the Café de las Delicias, with a salary of 1,200 pesetas a year. The café, which was later renamed Lion d'Or, was considered one of the best in Barcelona. Its grandeur was described in detail by Narcís Oller in his novel La Bogería, although by the time Granados started working there it had already declined and gone considerably out of fashion. The customers' favorite repertoire seemed to center almost exclusively on fantasies and rhapsodies overloaded with effects and assorted flourishes, very far from young Granados's taste. The Barcelona businessman Eduardo Conde, a good friend of his family and of Captain José García-Junceda, hired Granados as music teacher for his children, paying him the then exorbitant salary of one hundred pesetas a month, equivalent to his earnings as pianist at the Café de las Delicias. During this period Granados made his first semi-public appearances, including a concert on April 9, 1886, at the Ateneo of Barcelona, in which he performed with Ricardo Viñes Gottschalk's two-piano work Tarantella, as well as the Fantasía para dos pianos, armonio y cuarteto de cuerda by Josep García Robles.

Despite probably being the best-paid private piano teacher in the country, Granados realized that Spain did not offer him the possibility of completing his musical studies, so he decided to go to Paris, always with the support of Eduardo Conde. In any case, in order to increase the savings needed for a journey of that scale, he once again went to work in a café, this time at the Café Filipino in Barcelona. He remained there two months, improvising popular tunes and accompanying patrons of dubious musical taste, an activity he described in pointed detail in his diary. In September 1887 he was at last able to set out for Paris.

Paris

Granados's initial goal in Paris was to enter the highly prestigious Conservatory, where some of his teachers had studied. Unfortunately, on his arrival he contracted typhoid fever, and by the time he recovered he had already exceeded the maximum age for admission. Enrique then decided to study piano privately with Charles Wilfrid de Bériot (1833–1914), one of the professors at the Conservatory. Among Bériot's other pupils were a very young Maurice Ravel (1875–1937) and Ricardo Viñes (1875–1943), his partner in the 1886 concert at the Ateneo of Barcelona, also from Lérida, with whom Granados shared lodgings at the Hotel de Cologne et d'Espagne on the rue de Trévise.

Bériot placed great emphasis on tonal refinement in performance, and to this is attributed Granados's later particular interest in the technique of attack and in the use of the pedals. Another influence of Bériot is found in improvisation. Besides the practice of preluding works—preparing the audience with some short improvised themes before a recital—improvisation was almost always an element present in Granados's performances; already possessing great talent in this respect, he saw his natural ability greatly strengthened under Bériot's tutelage.

His stay in Paris shaped his interpretive conception and decided him on becoming a composer. Paris was becoming one of the leading cultural cities—Granados witnessed the construction and inauguration of the Eiffel Tower—with a kaleidoscopic musical life in which the academicism of César Franck, Vincent d'Indy or Camille Saint-Saëns coexisted with the innovations promoted by Enmanuel Chabrier, Claude Debussy, Gabriel Faure, Paul Dukas, Cécile Chaminade or Isaac Albéniz. Besides his training with Bériot, Paris gave Granados the opportunity to consolidate his friendship with Albéniz, who had been his fellow student in Barcelona, and to meet the most representative French musicians of the moment, such as the aforementioned Fauré, Debussy, Ravel, Dukas, D'Indy or Saint-Saëns, and later Eugen D'Albert, Teresa Carreño and Igor Stravinsky, among others.

Viñes's accounts make clear that, in addition to studying, Bériot's pupils also enjoyed themselves as much as they could and frequented the famous cabarets and theaters of the time, such as the Comédie-Française. Viñes and Granados rented a strange tricycle on which they took long rides around Paris, and there Granados also took up painting, frequenting the house of the painter Francesc Miralles—his neighbor in Barcelona during his childhood—a friendship from which the inspiration for some of his works would later arise. In July 1889, after several unsuccessful attempts to attract the interest of Parisian publishers in his works, Enrique Granados returned to Barcelona.

Return to Barcelona and doings in Madrid

On his return, Granados negotiated the publication of the first book of his Doce danzas españolas (Barcelona: 1893) with the publishing house of Pujol, his former teacher. The Danzas españolas brought Granados his first international recognition, since some established composers of the time, such as Cui, Fauré, Saint Saëns and Grieg, appear to have praised them effusively.

On November 25, 1889, Granados made his debut in Barcelona, at the Ateneo, although the concert of April 20, 1890, at the Teatro Lírico de Barcelona seems to have had greater impact; there he premiered several original compositions such as Arabesca, some of his Danzas españolas and the now-lost Serenata española—not to be confused with Albéniz's work of the same title. In addition, Granados performed works by Saint-Saëns, Bizet, Mendelssohn, Chopin and Beethoven, together with a sextet that closed the recital with works by Mozart and Schubert. The concert was a resounding success that gave Enrique Granados great popularity, which would only keep increasing until the end of his life.

Around 1891 Enrique Granados met Amparo Gal y Lloberas, daughter of a Barcelona couple engaged in commerce and sister-in-law of the Franco-Spanish businessman José Achón. Enrique and Amparo were married on December 7, 1892, in the church of La Mercé in Barcelona. Their first son, Eduardo, was born in July 1894. Five others would follow: Solita, Enrique, Víctor, Francisco and Natalia. After his marriage, Granados spent a good part of 1894 and 1895 in Madrid, trying to publish his music and obtain a post as piano teacher at the Conservatory. But, just as had happened to him in Paris, he fell ill and was unable to sit the competitive examinations, which were won by the young Pilar Fernández de la Mora, who would become one of the most important piano teachers at the Madrid Conservatory. On May 14, 1894, he gave a concert at the Ateneo of Madrid, whose Fine Arts section was presided over by Guillermo Morphy, the Count of Morphy, performing his Danzas españolas and an Impromptu. Granados also gave some concerts at the Salón Romero in a subscription series in which, among other performers, was the young and promising cellist Pablo Casals (1876–1973).

By October 1895 Granados was already back in Barcelona. Under the auspices of the Societat Catalana de Concerts he gave several concerts of his own works as well as works by d'Indy and Albéniz, often in the company of the Belgian violinist Mathieu Crickboom (1871–1947), who had settled in Barcelona in 1895.

After the dissolution of the Societat Catalana de Concerts in the summer of 1897, Crickboom founded the Societat Filharmónica with the aim of promoting chamber music in the Barcelona musical scene, essentially dominated by opera. Granados made his debut with the Filharmónica on November 9, 1897, at the Sala Estela, where he played with Crickboom and Pablo Casals. Over the following seven years he played with the Societat Filharmónica on twenty-five occasions, often with Casals and occasionally giving Barcelona premieres of works from France, such as Saint-Saëns's Violin Sonata, Op. 75 (1902). He also continued composing, although none of his chamber works—such as those he composed in Madrid—appears in the Societat's programs. By this time Granados had already tried his hand at orchestral composition, and his works Suite sobre cantos gallegos and Marcha de los vencidos were premiered in October 1899. In November of that year he premiered in Barcelona Valses poéticos (Madrid: casa Dotesio, ca. 1895), which was warmly received by the public.

In mid-1898 Granados returned to Madrid to premiere his first stage work, the three-act opera María del Carmen, which was a resounding success. Although there was some criticism of the libretto, this opera brought Granados an enormous commercial success. It remained on the bill for a long time, and its popularity reached the ears of the Queen Regent, María Cristina, who decorated Granados with the Cross of Charles III. The work also enjoyed considerable success in Barcelona and in Valencia.

In 1900 he broke with Crickboom and founded the Sociedad de Conciertos Clásicos, and the Academia Granados, devoted to the teaching of the art of the piano—later the Academia Marshall. This Academy, which would create a particular style of performance, was directed by Granados until he left for America. It was afterward continued by his pupil, the pianist Frank Marshall, born in Mataró in 1883. The Academia Granados has given great names to piano performance: Paquita Madriguera, Baltasar Samper, Albert Attenelle, Alicia de Larrocha, Rosa Sabater, as well as Conchita Badía, whom he considered his second daughter, and who premiered several of his works, some of them dedicated... In the following years, Granados published several works for piano and chamber ensembles. The Allegro de concierto (1904), awarded a prize in a competition of the Madrid Conservatory, abandons the "nationalist" line in search of a distinctly Romantic virtuosity. In 1905 he presented in Paris the sonatas of Scarlatti that he himself had transcribed and completed.

Granados and his relationship with the Orfeó Català and the Palau de la Música Catalana

In 1891 Granados took part in the founding of one of Barcelona's most visible musical symbols, the Orfeón Catalán. For some time, enthusiasm for the language and literature of Catalonia, fostered by the mid-century movement known as the Renaixença, had penetrated musical life, and Barcelona's composers hastened to express these sentiments through new arrangements of traditional folk songs. The last decades of the century saw the appearance of various choirs that performed the traditional folk repertoire as well as new works by Catalan composers, classical works, or a combination of the above. The founding of the most influential of these choirs, the Orfeó Catalá, is generally attributed to Amadeo Vives (1871–1932) and Lluís Millet (1867–1941). Enrique Granados's diary, however, leaves little room for doubt about his essential role in its formation, to which Enrique Morera also contributed. From its founding, Granados was a member of the Teaching Commission and served on the jury of one of the editions of the music competition of the Festa de la Música Catalana alongside Lluis Millet and Antoni Nicolau. Granados himself performed his Danzas españolas at the first concert of the Orfeón Catalán in 1892. The following year, in this context, he premiered the Oriental for strings and oboe. He also dedicated concerts in honor of the choristers, such as the one held in May 1902. He also premiered works together with them, such as the symphonic poem for orchestra Dante, or his piece for voice and piano Elegía eterna. The Orfeón was part of a political project in which Granados did not take part, an issue that has given rise to various myths and documentary falsifications.

What is certain is that Granados maintained cordial ties throughout his life both with the Orfeón and with the rest of its founders; he gave several benefit concerts for the Orfeón and engaged it for the premiere of two of his most ambitious vocal compositions, the Cant de les Estrelles (1911) and the Elegía Eterna (1914). After the death of Granados and his wife, the Orfeón Catalán sent telegrams and messages to embassies and philharmonic societies all over the world to raise funds for their children.

The relationship between Enrique Granados and the Orfeón Catalán can be seen not only in the surviving concert programs but also in the correspondence between the composer and other figures of the institution. Among the historical documents in the archive of the Orfeón Catalán are several letters that bear witness to his good relationship with Lluis Millet, Francesc Pujol or the President of the institution, Joaquín Cabot. There are also two paintings by the musician that make evident his fondness for painting. One of them depicts the macaw of Apeles Mestres, while the other shows a drawing of a violin.

From its inauguration in 1908, the Palau de la Música Catalana was the venue chosen by Granados for the premiere of many of his works, such as Goyescas and the Canto de las estrellas in 1911, Elegía eterna in 1915 and the symphonic poem Dante, with the Madrid Symphony Orchestra, also in 1915. On this stage Granados also gave concerts with great international performers such as the pianist Édouard Risler, or the violinists Jacques Thibaud and the previously mentioned Mathieu Crickboom.

Over the following decades, and up to the present, many concerts in homage to Granados have been organized at the Palau, featuring performers of the stature of Conchita Badía, Montserrat Caballé or Teresa Berganza, or the pianists Alicia de Larrocha and Rosa Sabater, considered the finest interpreters of Granados of all time.

Granados and Goya

Granados felt a true passion for the era of Francisco de Goya and the casticista atmosphere that the painter was able to portray. He considered Goya "the representative genius of Spain". He owned several works by the painter and, since Granados had a good hand for drawing and painting, he even portrayed himself dressed as a "goyesco" and produced several prints with motifs inspired by Goya's work. From this devotion arose the two books of Goyescas for piano, subtitled Los majos enamorados. These musical impressions in seven scenes illustrate the development of a love affair between two "majos", from their first meeting to the tragic death of the "mayoría" and the subsequent appearance of his ghost. Goyescas has been regarded from various points of view: sometimes as a kind of set of improvisations, at other times as a continuous narrative using the leitmotif of Wagnerian inspiration; at other times the excessive tendency to repeat passages or phrases has been criticized, leading to a certain monotony that can only be redeemed by the skillful treatment of themes, color, rhythm and harmony. Goyescas was premiered in 1911 at the Palau de la Música Catalana. Granados's worldwide consecration came with the premiere of Goyescas at the Sala Pleyel in Paris in 1914. So great was the success that the musician was awarded the Legion of Honor of the French Republic.

The Tonadillas are a series of ten songs, on some unfortunate texts by Fernando Periquet, in which Granados evokes the Madrid atmosphere recreated by Goya in the tapestry cartoons and in the Caprichos. They are Granados's main contribution to the japoniste fashion of the moment.

In America

Enrique Granados in 1914

Following the success of the piano suite Goyescas, the Paris Opera commissioned an opera from Granados. The composer proposed adapting the piano material of Goyescas into a lyric work and commissioned the text from Fernando Periquet, which obviously had to fit the music already written. Granados moved to a house in Switzerland lent to him by the musicologist Kurt Schindler, where he finished the work. The outbreak of the First World War scuttled the plan for the Paris premiere, and the Metropolitan Opera House in New York offered to host the first performance.

The circumstances are interesting: his friend Ernest Schelling, a notable American composer (1876–1939), was the one responsible for the inclusion of Goyescas in the program of the 1915–1916 season of the Metropolitan Opera House. There he would meet Pablo Casals, who rehearsed the work with the orchestra. One can imagine that the wartime atmosphere of the moment caused the Granados couple a certain nervousness, since it did not seem the ideal moment to put to sea, and moreover it was Enrique Granados's first sea voyage, having had a great aversion to sea travel all his life. Shortly before embarking he remarked jokingly: "On this journey I will leave my bones".

Finally Granados and Amparo set sail from the Port of Barcelona in November 1915 aboard the ship Montevideo, on which the guitarist Miguel Llobet was also traveling. This undoubtedly allowed them a more entertaining crossing, talking about Barcelona matters, but, as we shall see, that outbound journey was not free of mishaps. They called at Cádiz, and on November 30 they set sail again for New York. During the crossing, the Montevideo was intercepted by the destroyer Cassard of the French Navy for an inspection. Although everything was resolved without problems and as quickly as possible, the incident was enough to make the passengers nervous, to the point that Granados, always a joker, remarked: "If they stop us again, I'm getting off!".

In a letter written to his children during the crossing and posted in New York, he says:

[…] we were supposed to be sailing for 10 days and it has been 15. A few hours of calm and the rest a storm that never ended. We thought we would never see you again. One afternoon, your mother and I embraced and prayed that God would guide you[…]

They arrived in New York on December 15. A frenetic round of preparations, contacts and rehearsals with the orchestra began at once. As had been planned, Pablo Casals had already conducted the main rehearsals, and Granados and the famous cellist gave a concert at the Friends of Music Society before the premiere of Goyescas a few days later. In addition, Granados recorded some pianola rolls for the Aeolian company and had an intense social life, since New York society considered it a true luxury to have in the city a European artist of Granados's renown, so that he was constantly invited to cocktail parties and receptions.

Shortly before the premiere, the impresario of the Metropolitan told Granados that, in his opinion, Goyescas lacked an intermezzo. Granados then wrote what was his last composition, which would later become especially famous. The composer was not very satisfied, and told Casals: "I have done something in bad faith, vulgar, playing to the audience. It has come out as a jota!", to which Casals replied: "Perfect. Wasn't Goya Aragonese?".

The premiere finally took place on January 26, 1916, with the orchestra conducted by maestro Gaetano Bavagnoli and the chorus by Giulio Setti. The success was tremendous, and the length of the ovations historic. Granados wrote to his friend Viñes: "At last I have seen my dreams come true [...] All my present joy I feel more for everything that is still to come than for what I have done so far".

The critics, however, were not favorable, and the work was performed only five times and was a commercial fiasco. Despite this, Granados's popularity soared to the point that President Wilson invited him to the White House. This tribute would have, as explained below, fatal consequences for the Granados couple.

The Granados couple had return passages for March 8 on the Spanish-flagged ship Antonio López, which ran the New York–Barcelona line, but in order to attend the reception at the White House they postponed their departure by three days. This time the journey included a transfer in England and a train journey: from New York to Falmouth they would travel on the Dutch-flagged SS Rotterdam, and from Folkestone to Dieppe, France, on the French-flagged SS Sussex. In Dieppe they would take a train bound for Barcelona.

The reception and concert at the White House took place on March 7. The next day the Ambassador of Spain, Juan Riaño y Gayangos, gave a luncheon in his honor during which he pointed out to him the danger of embarking on a ship of a belligerent country, however civilian it might be. Granados became so alarmed that he tried to change the tickets, but there was no longer time, and his impatience to return home led him to persist with the route mentioned.

The Granados couple embarked at the Port of New York on March 11, 1916. The farewell on the pier was very emotional, with many friends attending, such as Schelling, Kreisler and Paderewski. He was presented with a silver cup commemorating the New York premiere of Goyescas, signed by all those responsible for the event and with more than four thousand dollars inside.

The Granados couple arrived in Falmouth on March 19, and then went on to London to visit the city and meet some friends. Among them was the sculptor Ismael Smith, who during those days made a clay mask of the composer's face. Enrique Granados also had several meetings with British impresarios to propose a performance of Goyescas in London, but they were not interested in the project.

On March 24 the couple left London for the port of Folkestone and boarded the steamer Sussex of the French Railways Company. The ship set sail at 1:15 p.m. bound for the French port of Dieppe, on the other side of the English Channel. Around 2:30 p.m. the Sussex was detected by the German war submarine UB-29, under the command of Captain Herbert Pustkuchen, who apparently mistook it for a minelaying ship, and around 2:50 p.m. fired a torpedo that struck the middle of the hull, breaking the Sussex in half. The bow of the Sussex sank at once, while the stern was left adrift and was later towed to the port of Boulogne. The Granados couple's cabin was in the stern, and their luggage and many personal belongings were found in it, but it is known that at the moment of the impact the couple were in another part of the ship. According to eyewitnesses, Enrique Granados jumped into the water and was soon hauled aboard one of the lifeboats, but on seeing his wife struggling among the waves shortly afterward, he threw himself in to rescue her, and both were swallowed by the sea.Walton 2009, p. 71

Remains of the Sussex in the port of Boulogne, 1916.

Eighty other people lost their lives in the Sussex disaster. Juan Ramón Jiménez, living in New York at the time, dedicated Poem LXXXI, "Humo y oro", of his Diario de un poeta recién casado to Enrique and Amparo Granados when he learned of the sinking of the Sussex, reported in the American press on March 27.

Musical output

Style

Granados's music is a very personal example of the thriving musical Symbolism of the Belle Époque, both in his compositions of theatrical music and in his works for piano, the author's two favorite genres.

Works

Main article: List of compositions by Enrique Granados

Granados y la música para la escena. List, updated to October 1, 2018, of the seven works of musical theater, six pieces of incidental music for the theater and four unfinished Zarzuela projects produced by Granados between 1894 and 1915.

Suite sobre cantos populares gallegos for orchestra, premiered in Barcelona on October 31, 1899.

La música de cámara de Enrique Granados. List, updated to November 30, 2018, of the fifteen chamber music works composed by Enrique Granados between 1890 and 1916.

Danzas españolas. Study of the first edition (1892–1895) of Enrique Granados's 12 Danzas españolas para piano.

Las canciones de Enrique Granados. List, updated to October 12, 2018, of the two song cycles and twenty-two songs in Catalan, Spanish and French composed by Enrique Granados between 1902 and 1916.

Legacy

Many tributes to Granados followed after his death, most of them featuring Conchita Badía, his favorite pupil, perhaps the most moving—as Joan Alavedra recounts—being the one organized by Pablo Casals at the Metropolitan in New York, on the same stage on which, a short time before, they had premiered Goyescas together. Performing alongside Casals were Fritz Kreisler, Ignacy Jan Paderewski, María Barrientos, Julia Culp and the tenor John McCormack. With the whole audience standing, Paderewski played Chopin's Funeral March, with the theater lights off and the stage lit only by a candelabrum placed on top of the piano. Death overtook Granados shortly before his 49th birthday.

Bibliography

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• Xoán M. Carreira (ed.): "Bajo la alfombra de Enrique Granados", weekly series of monographic articles published in the newspaper "Mundoclasico.com" beginning October 13, 2017.
• Josep María Rebés, "Granados: Crónica y desenlace", Granada: Libargo, 2019, 494 pp, ISBN 978-84-948136-5-8.

External links

• Free scores by Enrique Granados at the International Music Score Library Project (IMSLP)
• Public domain music and scores at Musopen
• Enrique Granados Archive at the Library of Catalonia
• Granados-Marshall Musical Association
• Manuscript scores by Enrique Granados at the Documentation Center of the Orfeó Català.