Asturias Flamenco by Albeniz

Having attending multiple flamenco concerts in Barcelona, Spain as well as playing guitar myself since I was 11 years old, I developed an immensely deep appreciation and passion to classical guitar music pieces. Among all the great classical flamenco pieces composed in the 19th century, one of the most famous sonatas played by a Catalan composer Isaac Albéniz, is named Asturias. Even though he was a Spanish Virtuoso pianist who is best known for his piano works based on Spanish folks music idioms, many of his pieces was transcribed to guitar; including Asturias that was played by the talented guitarist John Williams. 

One thing about this piece that stood out to me was its constant maintenance of pace for triple string picking throughout, but still capable of communicating contrasting emotions. Also, his distinguished talent was highlighted by, John Williams, in playing a piece that is originally written in G minor for the piano in distinctively unique melody and vividness on the guitar. 

What really builds to its uniqueness, which I have recently learned about, is the essence of its performance on the guitar which has a tighter tessitura, compared to a piano. Secondly, the original key of G minor is not suitable for the guitar, causing the performance as it was intended fairly uncomfortable.

Asturias has been since eminent for its delicate, intricate melody, gentle middle section and abrupt dynamic thematic transformations. The theme itself suggests the rhythm of the bulería, a fast flamenco form. 

The composition of this musical piece has two main melodies, that seems to be separated by a modulation followed by a moment of silence for dramatic effect. First the piece starts off by bringing a determined, driving theme that slowly develops a sense of urgency and builds in energy. The first theme is beautifully composed of bass notes that are almost instantly and continuously followed by higher notes on a higher mode, but within the same key, which develops an audible narrative of a thrilling chase or an exciting pursuit that is taking place. This chase infuses the audience with exhilaration and anticipation of what to follow. Subsequently, a more melancholic middle section follows that inspires a more nostalgic sentiment, as the prior chase, presented in the earlier theme, subsides. This was presented in a monophonic form but doubled by additional chords for more fullness of sound. The music alteration between a solo and accompaniment is typical of flamenco, that is so clearly demonstrated in Asturias throughout its contrasting themes. Also, the short middle section of the piece is written in the style of a string plucking malagueña, which is another flamenco style piece. After the contemplative middle section, the opening melody returns and brings the piece to its conclusion. It returns to its first theme, as if it’s a recapitulation, until a slow “hymn-like” passage ends the piece.

Overall, this piece, Asturias, not only rekindle my everlasting appreciation for flamenco and classical guitar, but also show me the intricate, feelings that are conveyed within the depth and pace of the sequential string picking before my eyes. This piece almost rejuvenate all the vital factors, that made me become a flamenco fanatic and guitar player in the first place. It has melody that leaves me mumbling its tunes all day and corresponding my daily emotional fluctuations to its malleable harmony, which in turn showcase a beautiful balance and stable composure despite the highs and lows.