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The Gaggle Music Club: Isaac Albéniz’s "Iberia"

This week's selection for The Gaggle Music Club is Isaac Albéniz’s Iberia. Written between 1905 and 1909, during the composer's final years of life, "Iberia" is a towering masterpieces of piano composition. The work consists of 12 pieces grouped into four books. Though rooted in the musical idioms of Andalusia and indeed of Spain a whole, "Iberia" was composed while Albéniz was living in Paris and Nice.

As Albéniz’s health deteriorated during the composition of this work, he was supported and encouraged by a circle of French musicians, notably Debussy and Dukas, who admired his synthesis of Spanish folk idioms with French impressionist techniques.

Born in 1860 in Catalonia, Albéniz was a child prodigy pianist who gave his first public concert at age four. By the time he was nine, he was performing internationally. His early career was marked by spectacular virtuosity. After studying at the Leipzig and Brussels conservatories, he later moved to Paris, where he came under the influence of French composers such as César Franck, Gabriel Fauré and Debussy.

Each of the 12 pieces in Iberia is a portrait of a Spanish region or town, imbued with dance rhythms, folk tunes and evocative harmonies. Iberia marks a culmination: It fuses the celebration of Spain that was such a notable feature of earlier works such as Suite Española with a cosmopolitan harmonic and formal language. In Iberia, Albéniz achieved what few nationalist composers did: the transformation of regional idioms into universal, forward-looking art.

Iberia is a masterpiece of piano composition. Debussy said it was "more Spanish than Spain itself." Manuel De Falla called Iberia "the greatest Spanish piano work of all time." It became an emblem of Spanish musical identity. Iberia also set new, demanding technical standards. At first, many considered it unplayable due to its complexity. Over time, it was recognized as a monumental achievement. Critics now place it alongside the piano music of Debussy, Ravel and Scriabin for innovation and expressive depth.

In this performance from Aug. 19, 2000 at the Teatro Colón, Buenos Aires, Daniel Barenboim celebrates his 50 years on stage with a solo-recital as in his first appearance as a 7-year-old boy

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More Leftie Than Thou
"Jacobin" Magazine Celebrates A Strike Against Ol' Blue Eyes

Here at "The Gaggle" we have very little time for the "more Leftie than thou" school of thought--that's the approach to life according to which the only thing that matters is whether you take the right position on every issue under the sun from Abortion to Zelensky. No one in the world meets the exacting standards of this school of thought; any Leftie leader anywhere is always selling out to the bankers and the capitalists. The perfect exemplar of this is the unreadable Jacobin magazine. 

The other day I came across this article from 2021. It's a celebration of trade union power. And not simply trade union power, but the use of trade union power to secure political goals. Of course (and this is always the case with the "more Leftie than thou" crowd), this glorious, never-to-be-forgotten moment on the history of organized labor took place many years ago--in the summer of 1974 to be exact. Yes, almost half a century has gone by since that thrilling moment when the working-class movement of Australia mobilized and prepared to seize the means of production, distribution and exchange. 

Well, not quite. Organized labor went into action against...Ol' Blue Eyes, the Chairman of the Board, the Voice; yes, Frank Sinatra. Why? What had Sinatra done? Sinatra was certainly very rich, and he owned a variety of properties and businesses. But if the Australian trade union movement were, understandably, searching for the bright, incandescent spark that would finally awaken the working class from its slumber there were surely richer, greedier, more dishonest, more decadent, above all more Australian individuals it could have discovered. Australia was never short of them. Rupert Murdoch immediately springs to mind. Why Sinatra?

 

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