Albéniz at the age of thirteen
Albéniz at nineteen
Albéniz around 1880
Albéniz around 1890
Albéniz playing piano in his top years
around 1905, showing in his face the signs of illness
strongly suffering the illness around 1908
característica per a orquestra (Characteristic Suite
-Escenes simfòniques catalanes (Symphonic Catalan
Alhambra (The Alhambra 1896-1897)
-Petit Suite –Sérénade Lorraine (Small Suite- Lorrain Serenade 1898)
-Rapsòdia Almogàver (Almogaver Rhapsody 1899)
-Catalonia, suite populaire pour orchestre en trois parties (Catalonia,
popular Suite for orchestra in three parts 1899)
per a piano i orquestra Opus 70 (Spanish Rhapsody for piano and orchestra 1887)
-Primer concert per a piano i orquestra (First concert for piano and
-Concert fantàstic Opus 78
(Concert Fantastic - Opus 78 1885-1887)
-Segon concert per a piano i orquestra (Second concert for piano and
orchestra -unfinished -1892)
Music of chamber:
-Suite de concert
per a sextet (Concert Suite for a sextet 1883)
-Berceuse per a violí i piano (Berceuse for violin and piano 1890)
-Marxa militar (Military March 1869)
-Pavana fàcil per a mans petites Opus 83 (Simple
Pavana for small hands Opus 83 -
-Serenata napolitana (Napolitan
-Pavana-caprici Opus 12 (Pavana-caprice Opus 12 -
-Estudi - impromptu Opus 56 (Study - Impromptu Opus 56 - 1882)
-Barcarola Opus 23
(Barcarole Opus 23 -
petits valsos Opus 25 (Six short Waltz Opus 25 - 1884)
-Sonata nº 1 Opus 28 (Sonata nº 1 Opus 8 - 1884)
-Estudi de concert Opus 29 (Concert Studio Opus 29 - 1885, July 3)
morisca (Moorish Serenade ca.1884)
-Estudi de concert en Mi menor Opus 21 (Concert Studio in E minor Opus 21 - 1885)
-Desig, estudi de concert Opus 40 (Desire, Concert Studio Opus 40 - 1885)
"A la meva dona"
(To my wife)
-Primera suite antiga Opus 54 (First Ancient Suite Opus 54 ca.1885)
-Sis masurques de
saló Opus 66 (Six Chamber Mazurques
-Primera suite espanyola Opus 47 (First Spanish Suite Opus 47 - 1883-1894)
-Angoixa, romança sense paraules (Distress, ballade 1996)
-Segona suite antiga Opus 64 (Second ancient Suite 1886)
-Set estudis en els tons naturals majors Opus 65 (Seven Studios in natural
major key 1886)
-Minuet en Sol menor (Minuet in G minor 1886)
-Tercer minuet (Third Minuet 1886)
-Rapsodia cubana en Sol major Opus 66 (Cuban Rhapsody in G major Opus 66 - 1886)
-Sis danses espanyoles (Six Spanish dances 1886)
-Tercera suite antiga (Third ancient Suite 1886)
per a dos pianos Opus 70 (Spanish Rhapsody
for two pianos Opus 70 -
-Rapsodia espanyola Opus 70 (Spanish Rhapsody Opus 70 - 1887)
-Records de viatge Opus 71 (Travel reminiscences 1886-1887)
-Sonata nº 4 en La major Opus 72 (Sonata nº 4 in A major Opus 72 - 1887)
Opus 80 (Reminiscences, mazurca Opus 80 -
-Masurca de saló en mi bemoll major Opus 81 (Chamber mazurca in E flat major
Opus 81 - 1887)
-Sonata nº 5 en Sol bemoll major Opus 82 (Sonata nº 5 in G flat major Opus
82 - 1887)
-Vals champagne, vals de saló (Champagne waltz 1888)
-Dotze peces característiques Opus 92 (Twelve characteristic compositions
Opus 92 - 1888)
-Amalia, masurca de
saló Opus 95 (Amalia, mazurca Opus 95 -
-Ricordatti, masurca de saló Opus 96 (Ricordatti, mazurca Opus 96 - 1888)
-Segona suite espanyola Opus 97 (Second Spanish Suite Opus 97 ca.1889)
-Serenata espanyola Opus 181 (Spanish Serenade Opus 81 - 1889)
-Cádiz-gaditana (Cadiz-woman of Cadiz ca.1889)
-Dues danses espanyoles Opus 164 (Two Spanish dances ca.1889)
-Espanya: Sis fulles d’àlbum Opus 165 (Spain: Six album pages Opus 165 - 1890)
-L'Automme-Valse Opus 170 (The autumn-Waltz Opus 170 - 1890)
-Zambra granadina en Re menor (Gipsy zambra in D minor ca.1890)
Opus 202 (Majorca
barcarole Opus 202 -
-Rêves Opus 201 (Dreams Opus 201 - 1890-1891)
-Zorzico en Mi menor (Zorzico in E minor - 1891)
-Les Saisons (També conegut com "Album of Miniatures") (The
Seasons - also known as "Miniatures album" - 1892)
-Chants d'Espagne Opus 232 (Spanish songs Opus 232 - 1891-1894)
-Espagne: Souvenirs (Spain: Souvenirs - 1896-1897)
-La Vega (1897)
-Tres improvisacions en Fa sostingut menor (Three extemporizations in F
sharp minor 1903)
-Iberia, "12 nouvelles impressions en quatre cahiers" (Iberia,
"Twelve new impressions in four notebooks" 1905-1908)
-The Magic Opal
-Poor Jonathan (1893)
-Henry Clifford (1893-1895)
-Pepita Jiménez (1895)
-Mar i cel (Sea and sky 1897) (Unfinished)
-La Sérénade (1899)
-La morena (The brown tanned girl 1905) (Sketch)
-Cuanto más viejo…
-Catalans de Gracia (Catalans from Gracia 1882)
-Sant Antoni de la Florida (1894)
-La real hembra (1902) (Unfinished)
(Love poems 1892)
-The Song of Songs (1905) (Sketch)
Voice and piano
-Cinq rimes de
Bécquer Opus 7 (Five verse sing by Becquer
balades sobre texts de la marquesa de Bolaños (Six ballades
on atext of the marchioness of Bolaños 1887)
-Chanson de Barberine (The song of Barberine ca.1889)
-A Nelli, sis cançons per cant i piano (To Nelli, six songs
for voice and piano 1896)
-Has marxat per sempre, Elena? (Are you going forever, Helen?
-Seras meva? (Will
you be mine? 1896)
-Separats! (Away! 1896)
-Dos fragments en prosa (Two extracts in prose 1897)
-Succeeix amb l’amor (It happens with love 1897)
-L'asamblea de les
rates (The mouses meeting
dons dels deus (The Gifts of the Gods
-L'oruga (The caterpillar 1903)
-Quatre cançons (Four songs 1908)
(The Christ ca.1885) (It could still
not to be found)
-Domine ne in furore, Salm VI del Ofici de Difunts (Psalm VI
of the Funeral service 1885)
-Lo Llacsó (1896) (Sketch)
Bird of a child prodigy:
Isaac Albéniz was born in
Camprodón (Ripolles) on May 29, 1860. His father
Àngel Albéniz was
a civil servant in Ripolles and his mother, Dolors Pascual, was a native
of Figueres. At the age of four, Isaac performed at the Romea in
Barcelona, where his parents had moved
shortly after his birth, performing a fantasy on Verdi’s Sicilian
Vespers. His first teacher was Narcís Oliveras. Later, at the age of
six, he studied first with Antoine François
Marmontel in Paris, and subsequently at the
Conservatory. At the age of 8, he gave concerts in many Catalan cities
Albéniz had a clear calling to be a pianist from such an early age, and we
find his music among the repertoires of the most renowned pianists of
today, which they have selected as especially representative of popular
Andalusian music for that instrument.
Andalusian motifs inspired a large part of his compositions. Despite being
born in Catalunya, Albéniz rarely found inspiration from his home
region. However, Albéniz was a deeply Catalan man, one whom we could now
call of the “Catalan universal”.
very migratory childhood:
Since his father, Ángel Albéniz, was a civil servant, young Albéniz found
himself moving all over Spain. He was born in Camprodón because his
father was stationed there at the time.
After three years, they moved to Sitges, and a few months later to
Barcelona. Years later, Albéniz Sr. became customs officer in Almería, a
position that he lost because of his political leanings, and the family
moved back to Barcelona. The eight-year-old Albéniz was then in Madrid,
where he had passed the sight-singing examination to enter the music
conservatory. In July there was another change of address, this time to
He travelled regularly from Cáceres, where his father’s fate settled him,
to Madrid, so that he could attend sight-singing classes with Feliciano
Primo and piano performance classes with Manuel Mendizábal. At the age
of ten, he enthusiastically gave recitals at every possible venue,
without neglecting his studies.
His father was once again posted to Madrid, and the entire family
followed. It was during this time that he began to be known through
recitals in Valladolid, Salamanca, Palencia, León, Oviedo, Ávila, El
Escorial, all over Andalucía—in short, for a series of towns and peoples
who had come to demand the presence of the young pianist.
When Isaac was fourteen, his sister, Blanca, committed suicide in the
Parque del Retiro in Madrid, where she was a member of the Zarzuela
In 1875, Albéniz’s father was appointed Post Office Supervisor General for
Puerto Rico and Cuba, but again the following year he would lose this
position, forcing the family to return to Madrid. For young Isaac, all
these geographical meanderings were nothing more than a pleasant way in
which to visit and learn about new places. During these years, he
performed in cities such as San Juan de Puerto Rico and Santiago de
Cuba, as well as in various parts of Havana.
1876, Albéniz’s prestige was widely known in Madrid’s aristocratic
circles. Guillermo Morphy Ferris, a count and personal secretary to
Alfonso XII, used his considerable influence to open the doors of the
court to Albéniz
and was very enthusiastic about his talent. Albéniz
received a royal pension to study at the Royal Conservatory in Brussels,
where he perfected the art of piano performance and sight-singing. From
this moment, it can be said that Albéniz
forged his own independent path distinct from his father’s traditional
line of work. A man of inexhaustible imagination, he went beyond the field
of his own music, even inventing situations and anecdotes, such as his
supposed collaboration with Franz Liszt. Albéniz
noted in his diary that he met Liszt in Budapest on August 18, 1880, an
impossible feat given that Liszt had taken up residence in Weimer by then.
He was given to the exhibitionism of a child prodigy, as when he would
play the piano blindfolded or with his back to the piano, or place a cloth
over the keys to make the task even more difficult. Therefore his diary,
though undoubtedly helpful in studying his character, is peppered with
several passages that require a certain scrutiny, or at least an ability
to separate fact from fiction.
the composer:Albéniz’s compositions profoundly matured when he reached his twenties,
but he did not forego displaying his virtuosity for populations all over
Europe. During several intervals, he taught classes to his considerably
aristocratic disciples, and in the evenings, despite being exhausted, he
brought himself to compose pages and pages of music; he had signed a
contract with the editor Romero i Andía for five pesetas per manuscript
page. Romero thought he had made a savvy business deal, but Albéniz proved
so prolific that soon the editor begged to terminate the contract—the
young composer had managed to offer dozens of pages daily, more than
Romero was prepared to compensate him for. A large quantity of these
manuscripts has been lost, but they are known from references in letters,
documents, and statements by people close to Albéniz, as well as from
early Albéniz scholars. We have also been left with several incomplete
manuscripts, works begun—sometimes simply sketches of only one or two bars
of what might have been. All these remnants give us an idea of his
exuberant character, of his perpetual restlessness, and of his desire to
embrace musical expression. An extensive annotated catalogue of his works,
along with a recommended discography, can be found in the recent biography
Albéniz, by musicologist Justo Romero.
The year 1883 was an important one in the life of Albéniz. Upon returning
from his travels throughout South America, he re-established himself in
Barcelona, where he met
one of the greatest Catalan musicians and composers, and a scholar of
ancient music. It was Pedrell who convinced Albéniz of the need to develop
a profoundly national musical style.
Art Nouveau musician?:
Albéniz lived during the height of the Art Nouveau period, from about 1880
to 1910. Although it is difficult to speak of a purely Catalan Art Nouveau
musical style (in the same way one could speak of Claude Debussy and Eric
Satie in France, for example), the characteristics of Albeniz’s music
clearly place him within this movement—strongly oriented toward a popular
vision of art and music and a creative license that began to emerge in the
works of Felip Pedrell and that clashed with the academic rigidity that
had until then been imposed.
Following that way, the work of Xosé Aviñoa and specially his books
música i el Modernisme" (The music and the Art
Nouveau) and "Modernisme
i Modernistes - Música i Modernisme: Definició i Període -"
(Art Nouveau and its artists - Music and Art Nouveau: Definition and
is an interesting investigation on Catalan musical Art Nouveau.
Marriage and later years:Albéniz married his student, Rosina Jordana, on June 23, 1883 in
Barcelona’s Mare de Déu de la Mercé church. They had five children—four
girls (two of whom died in infancy) and one boy. In 1885, the couple moved
to Madrid. Albéniz performed a series of concerts during the 1888 World’s
Fair in Barcelona that catapulted him into artistic renown. On June 13 of
the following year, after a fabulous welcome, he performed in Prince’s
Hall, London, where he received such warm acclaim from the British press
that he stayed in Britain to give more concerts—in St. James Hall,
Steinway Hall, and at Crystal Palace—throughout 1889.
There is no doubt as to his appreciation of the value of Catalan music,
since after his stint in London he decided to move back to Barcelona
(though it might just as easily have been a decision made out of a pure
desire for stability, since nothing is easily explained that comes from
the mind of Albéniz).
Regardless, in Catalunya he rediscovered the cosmopolitanism he had
enjoyed on the journeys of his youth. His career as a pianist reached its
zenith from 1889 to 1892, when, aside from the concerts in Britain, he
gave others in Germany, Austria, Belgium, and France. In addition to
London and Barcelona, he also lived in Paris (where he taught at the Schola Cantorum), Brussels, Nice, and Leipzig, among other cities. But it
was in Andalusia where he would capture the essence of folk melodies,
where he would create a suite of music that expressed a greater sense of
being alive than he ever found in any other place.
synthesis of styles:
According to Yale Fineman, Albéniz introduced several elements native to
the southern Iberian peninsula—basically Andalusia—into his music. He also
wrote for the piano in the idiom of the guitar. A comparison of his
earlier, guitar-inspired works with his later ones,
such as the Iberia
Suite, reveals that the latter is noticeably more pianistic. Other
noticeable differences arise in the formal construction of his works: the
final section of his pieces alternated between the typical final movement
of sonata form, folk melodies, and interludes and dances. With Iberia,
a suite with extraordinary technical complexity, Albéniz’s music entered
the twentieth century. It enriched his musical vocabulary, which became
much more interesting not only to his usual fans and followers, but also
to the general public. Albéniz was adept at combining elements of
contemporary European music with both the Andalusian and popular Catalan
musical idioms. Despite having these somewhat foreign elements, his music
was enthusiastically accepted by his public.
Contracts for compositions:
From 1890 to 1893, Albéniz lived comfortably in London. During this time,
in addition to continuing to compose for piano and giving concerts in
London and other European cities, he wrote some successful operettas and
songs which allowed him to become temporarily
contracted as principal
composer and director at the Prince of Wales Theatre.
In 1893, he was offered the post permanently, but he preferred to return
to Barcelona, and
subsequently to Paris. Albéniz was by this time a role
model for those who seek to capitalize on genius. There was give-and-take
between various English businessmen, bankers, and poets offering highly
lucrative opportunities to set English poems and plays to music.
Finally, Albéniz met a wealthy English banker, Francis Money-Coutts (Lord
Latymer), who as a hobby wrote dramatic poems, which we wished to set to
music. The contract between Lord Latymer and Albéniz allowed the composer
to achieve the financial stability much-needed by his family. This
arrangement could be viewed in two ways: on the one hand, it brought
economic solvency, which Albéniz greatly appreciated after the privations
of the previous years. On the other hand, he fulfilled the terms of the
contract with little inspiration and
without the feeling that he had felt
when he composed more artistically satisfying pieces in the past. Who
knows whether if in those moments he longed for the time when one of those
little jewels for piano that made him so popular would rise from his
heart. Sadly, those jewels had little or no market value, despite Albéniz
being one of the highest-paid musicians of the time.
These commissions were not easy for him. Albéniz could not find the
sonorous magic of the solo piano in orchestral music, and his compositions
had to strike a balance between the formalities demanded by certain
instrumental parts and the inspiration he was supposed to find at a fixed
price. Perhaps his fault lie in self-teaching: he obtained his academicism
too much by force. To this period belongs his opera Pepita Jiménez,
based on a work by Juan Valera. It enjoyed great success and was performed
in Barcelona (1896), Prague (1897), Brussels (1905), and Paris (Opera-Comique,
environment and the first signs of illness:
His musician friends (Fauré, Dukas, Granados, Malats, and Breton, among
others) always sought his point of view in informal gatherings. They
always wanted his opinion on this or that detail—all in all, he was a
recognized and respected personality.
This brilliant pianist always wanted to learn, always to learn, especially
to learn enough to be able to compose for orchestra with the same
sensibility and lightness as he did for piano. His music did not convey
the time in which Albéniz lived. He had a negative vision of his era,
reflected in the correspondence he maintained with his sister Clementina
during his stay at the health resort in Plombières in the summer of 1898.
This gloom was surely exacerbated by the fact that Albéniz’s health had
already begun to show signs of deterioration.
Effectively coinciding with his thirty-sixth birthday, there appeared in
his diary a long paragraph that reflected the state of man still in his
youth, but already exhausted by the strains experienced so far in his life
trajectory, engaged in self-reflection, trying to decide whether things
had gone well or not—in short, feeling the insecurities everyone feels in
solitude once the world’s applause and elegies fade away. Albéniz wrote
these lines from his hotel in Prague, where he was rehearsing his opera,
Illness sets in:
Despite passing the years tortured by his illness, Albéniz did not stop
composing with all the will power in the world. For nearly twelve years,
he suffered from Bright’s Disease (chronic nephritis), enduring periods of
pain so acute that during a stay in England, he fell so gravely ill that
unfounded rumors of his death began circulating.
Louis Bonafoux, a journalist for the Madrid Herald, wrote:
“Albéniz’s kidneys are broken, but he has conserved all his inner strength
and optimism, which stubbornly keep him alive, and, what is more,
working!” This prolific Catalan could do nothing but work while his body
fell increasingly ill. With this spirit, Albéniz turned from the world of
interpretation to dedicate himself fully to composing.
Several works of greater and lesser scope remained only in draft form,
though he completed several more, such as Merlin and La real
hembra (The Royal Peahen) in 1902, Launcelot in 1904,
and the twelve segments of Iberia in 1906. He continued to travel
all over despite his physical suffering, but everyone has a limit.
His stay at
the health resort in Cambo-les-bains
and his death:
Following the recommendation of his doctors, on April 1, 1909 Albéniz left
Paris, where he had been living, and with his family moved to the health
resort in Cambo-les-bains (Pays Basque) to find a healthier climate.
This move brought it home that the end was near, and the prescribed doses
of morphine that he self-administered scarcely alleviated his suffering.
An emotional reunion took place in early May, when he received a visit
from his admirer, Enric Granados, who brought him news from all of his
friends. Debussy, Dukas, Fauré, d’Indy, and Granados himself had
petitioned the French government to bestow the Grand Cross of the Legion
of Honor on Albéniz, and he would receive the decoration shortly. All
these efforts were recounted in a letter Granados gave to the dying man.
Then they embraced—according to witnesses—and neither could say anything
through their emotion and tears. The doctor finally had to separate them.
They then poured forth in a long and animated discussion in which Granados
informed him of his latest musical events, mentioning his upcoming tour of
the United States to introduce his works there. Albéniz asked him to play
something on the piano. Granados sat down and began playing “La maja y el
ruiseñor,” unpublished in those days, and while he played he wanted to
surprise his friend Albeniz, so, without saying a word, he stopped playing
his own music and launched into “Mallorca,” a little barcarolle the two
friends had written during a trip to the Balearic Islands—a way to conjure
memories without speaking. That day spent in Granados’ company was one of
the last lucid days of Albéniz’s life.
He died at eight in the evening on May 18, 1909, only a few days before
his forty-ninth birthday. His death was widely mourned, and his body
stayed in Cambo-les-bains for a few days, where the prefect of the
department of Bays-Pyrenees paid his homage and placed on his casket
the Grand Cross of the Legion of Honor.
The funeral cortege left for Barcelona, where they arrived by train on
June 5 at the Estació de França. The city paid tribute with a solemn
reception ceremony that lasted until the next day. The Municipal Band of
Barcelona played the Funeral March from Wagner’s Twilight of the Gods,
the Orfeo Català performed passages from Fauré’s Requiem, Chopin’s
Funeral March from his Sonata No. 2 was performed. . . . After the funeral
solemnities, the cortege passed through the streets decked with Catalan
flags flying at half mast and made an emotional stop in front of the Liceu.
Hundreds of people gathered to give their condolences. Albéniz was later
buried in Barcelona Montjuïc cemetery.
It is impossible not to stop and consider what further great things this
universal Catalan would have achieved had his life not been cut tragically
Epitaph to Isaac Albéniz (by
Federico García Lorca):
Original Spanish version
This stone that we see raised
Over the grasses of death and dark clay
Guard shadow's lyre, sun's last rays,
Lonely, toppled urn of song.
From the salt of Cadiz to Granada
That builds of water an eternal wall
In an Andalusian horse with hard beat,
Your spirit cries out for the golden light.
Oh, sweet one dead too soon!
Oh, music and kindness interwoven!
Oh, goshawk pupil, wholesome heart!
The endless sky sleeps hung with snow
Dream winter of hearth fires, summer of grey
Sleep and forget your former life!
piedra que vemos levantada
sobre hierbas de muerte y barro oscuro
guarda lira de sombra, sol maduro,
urna de canto sola y derramada.
sal de Cádiz a Granada
que erige en agua un perpetuo muro
en caballo andaluz de acento duro
tu sombra gime por la luz dorada.
dulce muerto de pequeña mano
¡Oh música y bondad entretegida
¡Oh pupila de azor, corazon sano.
cielo sin fin nieve tendida
Sueña invierno de lumbre, gris verano
¡Duerme en olvido de tu vieja vida!
Reflections on the life and work of
from a long work on Iberian composers published four years after
Albéniz’s death: “. . . we count among them the name of Isaac Albéniz,
first an incomparable virtuoso, he acquired later a marvellous knowledge
of the musical ‘métier’ . . . he knew how to resolve the melancholy, the
special humor of his native land (he was Catalan) . . . in “El Albaicín”
one can feel the atmosphere of Spanish afternoons redolent with the
scents of brandy and carnations . . . mournful strains of guitars that
complain of night . . . without exactly replicating the popular
melodies, he has listened to them, he has drunk from them and
transported them into his own music so seamlessly that one can hardly
tell the difference between the folk tunes and his own inventions . . .”
said that “Albéniz felt music via telepathy with the piano keys.” The
same composer later wrote in the Catalan Music Journal:
“Dispositions like his cannot be taught, they are carried from birth,
they are only guided, and even then only to a certain extent, so as not
to constrain or spoil the gentle breeze of the crystalline waters of
their innate intuition.”
a renowned pianist, opined: “There are the great pianists . . . and the
great pianist Isaac Albéniz.”
Rubenstein declared: “I found the composer who demands the best of my
interpretive powers . . . Since then my greatest successes have been
inextricably linked with the illustrious and respected name of Isaac
Turina called him “a Catalan molded into an Andalusian.”
Albéniz’s death shook the contemporary musical
world, and the outpourings of grief at his passing multiplied. Below are
only a few.
knew Albéniz well during his twenties, in Madrid. “A great artist has
died, along with a good man. He was better known for the latter than the
former . . . I have never known a more beautiful heart than that of
Isaac Albéniz . . .” he wrote in an obituary on May 21, 1909, three days
after his death, and he finished with a sigh: “Poor Isaac! God give him
the glory that, in the opinion of those who esteemed and admired him, he
Manuel de Falla,
in a letter to Felip Pedrell from Paris on December 29, 1909, wrote:
“What a great loss we have suffered with the death of Albéniz, and what
a great artist he was!”
and friend Déodat de Séverac, who completed Albéniz’s “Navarra” in the
Iberia Suite, was struck by the news of his death and published
these words in the Musical Courier: “. . . you could not be close
to him and not adore him, because he embodied generosity, loyalty, and
friendship . . . all beautiful things, whether poetry, music, painting,
sculpture, resonated with him in the depths of his heart . . . [his
music] is as seductive as a orange blossom and as searing as the Spanish
sun . . .
Museum in Camprodon:At
this Museum there is a great deal of documentation concerning Albéniz,
such as letter from the composer, original scores, manuscripts and
editions thereof, books about him, personal artefacts, biographical data,
paintings, portraits, photographs, videos, Isaac Albéniz and his wife
You can also see the Museum
true treasures as his elder sister Clementina's upright piano
photo up right
-, which he
used to play his first notes when he has just 2 or 3 years old, and the
magnificent Bechstein grand piano wich Francis Money-Coutts, English
patron and author of the librettos for Albéniz operas gave to Enriqueta,
the composer's daughter in occasion of his wedding. The museum also helps
to realise the importance of Albéniz friends, as Pau Casals, Alfred Cortot,
Paul Debussy, Gabriel Fauré, Enric Granados, Cesar Frank, etc.
All of these objects recreate the atmosphere that made up Albéniz's life
and have been donated to the Museum by the composer's descendants.
The Museum organizes every year an important Music Festival with
(+34) 972 74 11 66
Monday to Friday:
Saturday and Holidays:
Sunday afternoon closed.
Mornings from 11h. to 14h.
Afternoons from 16 h. to 19h.
Mornings from 11h. to 14h.
Afternoons from 16h. to 19h.
Standard: 2,40 Euros.
Less of 18 years age and retired: 1,50 Euros.
Students with carnet: 1,50 Euros.
Groups with more of 20 persons: 1,50 Euros.
Less of 10 years age: NO fees.
Selling souvenirs, postal cards,
scores, records, etc.