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Biblioteca de músicas
Explore folhas de piano de Nicolás Ruiz Espadero no Zen Virtual Piano. Born on 15 February 1832 in Havana, Nicolás Ruiz Espadero never left his island home. He came from a wealthy family and was educated rigorously by his father, while his mother gave him his first musical training; since his father wanted him to become a lawyer rather than a musician, he was allowed just 30 minutes of piano practice each day. At the age of 12, Julian Fontana, Chopin’s friend and copyist, brought Espadero the knowledge and influence of Chopin’s music, and the two were to remain friends for a long time. A boy limited to half an hour of practice who met Chopin’s music through Chopin’s own copyist can be read as an island education reached by a very particular door. Espadero was invited in 1856 to become professor of music at the prestigious Liceo in Havana, and in that same year he wrote his most popular work, “El canto del esclavo” (The Slave Song). In 1858 he composed “La plainte du poète,” which earned a laudatory comment from Gottschalk. In the 1860s Espadero was a recognized composer, with his works published in Cuba and abroad, in Spain, France and the United States. A composer who never left Cuba yet was published in three other countries can be read as music travelling where he did not. His several teachers opened his writing to a wide range of influences: Chopin; Liszt by way of Fontana and Arizti; the salon music of Herz, Thalberg and Kalkbrenner; and Mendelssohn by way of Miró. Teachers who brought Chopin, Liszt and the salon composers into one pianist’s education can be read as a mix of concert and drawing-room styles. His works include ballads, scherzi and mazurkas, as well as transcriptions of opera arias and works by other composers. In 1876 Espadero received the Spanish distinction of Isabella the Catholic, as Gottschalk had before him, despite his nationalist music; in 1882 he was admitted as an honorary member of the Sociedad Económica Amigos del País. He rarely left his house, where he lived with seventeen cats among stacks of European music scores. He composed in classical European musical forms, writing a piano trio, a scherzo, a sonata and various longer études. A piano trio beside a sonata and longer études can be read as a composer who worked at scales from study piece to chamber work. From 1880 his life was marked by an even more pronounced withdrawal, and he took refuge in classes and composition. A withdrawal that deepened while classes and composition continued can be read as a seclusion that was never complete.
Explore folhas de piano de Nicolás Ruiz Espadero no Zen Virtual Piano.
Born on 15 February 1832 in Havana, Nicolás Ruiz Espadero never left his island home. He came from a wealthy family and was educated rigorously by his father, while his mother gave him his first musical training; since his father wanted him to become a lawyer rather than a musician, he was allowed just 30 minutes of piano practice each day. At the age of 12, Julian Fontana, Chopin’s friend and copyist, brought Espadero the knowledge and influence of Chopin’s music, and the two were to remain friends for a long time. A boy limited to half an hour of practice who met Chopin’s music through Chopin’s own copyist can be read as an island education reached by a very particular door.
Espadero was invited in 1856 to become professor of music at the prestigious Liceo in Havana, and in that same year he wrote his most popular work, “El canto del esclavo” (The Slave Song). In 1858 he composed “La plainte du poète,” which earned a laudatory comment from Gottschalk. In the 1860s Espadero was a recognized composer, with his works published in Cuba and abroad, in Spain, France and the United States. A composer who never left Cuba yet was published in three other countries can be read as music travelling where he did not.
His several teachers opened his writing to a wide range of influences: Chopin; Liszt by way of Fontana and Arizti; the salon music of Herz, Thalberg and Kalkbrenner; and Mendelssohn by way of Miró. Teachers who brought Chopin, Liszt and the salon composers into one pianist’s education can be read as a mix of concert and drawing-room styles. His works include ballads, scherzi and mazurkas, as well as transcriptions of opera arias and works by other composers. In 1876 Espadero received the Spanish distinction of Isabella the Catholic, as Gottschalk had before him, despite his nationalist music; in 1882 he was admitted as an honorary member of the Sociedad Económica Amigos del País.
He rarely left his house, where he lived with seventeen cats among stacks of European music scores. He composed in classical European musical forms, writing a piano trio, a scherzo, a sonata and various longer études. A piano trio beside a sonata and longer études can be read as a composer who worked at scales from study piece to chamber work. From 1880 his life was marked by an even more pronounced withdrawal, and he took refuge in classes and composition. A withdrawal that deepened while classes and composition continued can be read as a seclusion that was never complete.
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