The 12 Danzas españolas (Twelve Spanish Dances), Op. 37 for piano are a series of twelve piano pieces composed by Enrique Granados. They have been incorrectly labeled in some publications as Op. 5, a mistake caused by confusing the name of the Andalusian dance No. 5, which is homonymously called "Andaluza," with the opus number. The exact composition dates for each piece are unknown, although it is believed they were written between 1892 and 1900. The composer himself declared that most of them date from 1883 (when he was 16 years old). It is possible, however, that while written at an early date, they were perfected later by Granados, which would reconcile two of their qualities: on the one hand, their simplicity of writing, generally in a tripartite A-B-A form, far from the complexities of his seminal work Goyescas, suggests they are works of youth; on the other hand, the mastery, elegance, and rhythmic dominance would indicate a mature composer. These dances constitute a great contribution to 19th-century Spanish nationalist piano music, with the already-mentioned series Goyescas being his greatest contribution.

In the orchestral version, dances No. 2 "Oriental," No. 5 "Andaluza," and No. 6 "Rondalla aragonesa" are performed under the name Tres danzas españolas (Three Spanish Dances).

The Twelve Spanish Dances

Spanish Dance No. 1. Called Galante or Minueto, it is a kind of bolero in G major that Granados dedicated to Amparo Gal, his future wife. It begins with an allegro section, which modulates to the minor mode in a calmer, poco andantecentral section, and returns to the initial part.

Spanish Dance No. 2. Called Oriental, this is a dance written in C minor. The first section is an andante in which the left hand outlines a heartfelt accompaniment, while the right hand intones the melancholy main melody. The central section, lento assai, emanates a sentimental lyricism.

Spanish Dance No. 3. This dance receives two names, Fandango or Danza gallega (Galician Dance). The score is marked enérgico (energetic), and it is in D major. It is interesting for its flair (garbo), its rhythmic sense, and a contrasting hint of lyricism.

Spanish Dance No. 4. Called Villanesca, it is inspired by Torquato Tasso. It is courtly and, at the same time, popular in character. Marked allegro alla pastorale, its soft, melodious, pastoral air is its greatest charm. The song and refrain of the central section derive from the main theme.

Spanish Dance No. 5. Called Andaluza or Playera, it is an andantino, almost allegretto. It is the best known of all these dances. It has a certain flamenco atmosphere, hence the first name. The left hand performs a kind of plucking that recalls the strumming of the guitar.

Spanish Dance No. 6. It is called Rondalla aragonesa (Aragonese Round Dance), being, therefore, a true jota. Its tempo is Allegretto, poco a poco scherzando, with a brilliant first section that is difficult for the pianist to execute. The central part is in the manner of a copla (verse), and the first section reappears later. It is one of the most brilliant.

Spanish Dance No. 7. It is known by the name Valenciana or Calesera. It is an allegro arioso in G major. It is a Valencian jota with curious syncopated chords and a sustained rhythm, a stylized evocation of the folk dance. Granados dedicated it to the composer César Cui.

Spanish Dance No. 8. It is a sardana, which the composer uses as a tribute to his homeland. This sardana is characterized by its peculiar rhythm, with a varied and original melodic endowment. It is in C minor and is an assai moderato.

Spanish Dance No. 9. It is commonly called Mazurca or Romántica. It is a molto allegro brillante in B-flat minor. Some scholars have seen a Basque zortziko in it, but the rhythm is different. Others have found a proximity to the schottische(chotis). Others simply consider it a romantic piece.

Spanish Dance No. 10. Called Danza triste (Sad Dance) or Melancólica, it is an allegretto in G major. It is one of the most widely known in the series. From a formal point of view, it is somewhat loosely constructed, but therein lies its charm.

Spanish Dance No. 11. Called Zambra, it is a beautiful and inspired piece that shows reminiscences of Moorish-rooted music alongside Granados' habitual virtuosity and rigor.

Spanish Dance No. 12. It is called Arabesca. It is Moorish-inspired, like the previous dance. It is also the last dance in the collection. A piece of great delicacy, the melody of the central section has a very special grace.

Source: https://es.wikipedia.org/wiki/12_Danzas_españolas / License: CC BY-SA 4.0