The final pieces of 'Goyescas', 'El amor y la muerte' and 'Epílogo - Serenata del espectro', explore themes of despair and the ghostly, incorporating re-workings of earlier themes and the Gregorian chant 'Dies Irae'.
Composition History
Granados's 'Goyescas' is a large collection of compositions, including an opera, piano pieces, and 'Tonadillas' for voice and piano, all inspired by the style of Goya.
Historical Context
The term 'majo/a' referred to lower-class Spaniards who led a free-spirited lifestyle, indulging in flirtatious courtships and vibrant clothes, which became a fashionable fantasy for the nobility.
Composer's Artistic Vision
Enrique Granados, the composer, was deeply influenced by Spanish painter Francisco de Goya, with his compositions often reflecting Goya's romantic imagery of 'majos' and 'majas'.
Compositional Technique
Granados often incorporated melodies from traditional Spanish sources, such as a tonadilla (a type of theatrical song) in 'Los requiebros' and a folk song in 'Quejas o La maja y el ruiseñor'.
Composition History
The suite 'Los majos enamorados' (majos in love) from 'Goyescas' is considered Granados's greatest creation and is divided into two parts.
