Joaquín Turina (1882-1949)
Zapateado, extrait de "Trois Danses Andalouses", op. 8
Orgia, extrait de "Danzas Fantasticas", op. 22/ Claude Debussy (1862-1918)
Estampe n° 2 "Soirée dans Grenade"
Estampe n° 3 "Jardins sous la pluie"

Domenico Scarlatti (1685-1757)
Sonate en la majeur, K 533
Sonate en mi majeur, K 380
Sonate en mi majeur, K 531

Franz Xaver Scharwenka (1850-1924)
Spänisches Ständchen, op. 63 n° 1

Frédéric Chopin (1810-1849)
Bolero, op. 19

Maurice Ravel (1875-1937)
L'Heure Espagnole, fantaisie pour piano (arr. L. Roques)

Isaac Albéniz (1860-1909)
Mallorca, op. 22

Franz Liszt (1811-1886)
Rhapsodie Espagnole

Andreas Weimer, piano

“My musical Encounters with Spain“ began several years ago as I first became acquainted with Franz Liszt’s “Rhapsodie Espagnole“.. . I also experience this type of pictorial power of suggestion and impact in the sonatas of the Neapolitan Domenico Scarlatti. . . The search for other works that provide this type of “outsiders view” into Spanish culture led me to Chopin. In contrast to Scarlatti ’s Sonata, K 380, in which a Bolero rhythm is woven into the middle secti on like a delicate and luminous silver thread, this dance-form is in Chopin’s “Bolero“ op. 19 a source of nourishment for an exceedingly powerful and brilliant piano fantasy. . . The cross-fertilizati on of French and Spanish music culture at the end of the 19th century found a vivid expression through the close friendship between composers like de Falla and Albéniz with Dukas, Debussy and Ravel…” ( Andreas Weimer, excerpt from the booklet).