About the contributors
Walter Aaron Clark received his doctorate in musicology from UCLA (1992), where he worked with Robert Stevenson. He also holds performance degrees in classical guitar from the North Carolina School of the Arts (B.M.) and the University of California , San Diego (M.A.), where he was a student of Pepe Romero. Before coming to UCR, he was on the faculty at the University of Kansas for ten years. He is a professor of musicology and the founder/director of the Center for Iberian and Latin American Music at UCR. His research has appeared in The New Grove Dictionary of Opera , The New Grove Dictionary of Music and Musicians (2nd ed.), Die Musik in Geschichte und Gegenwart (2nd ed.), The Musical Quarterly , Revista de Musicología , Journal of the Lute Society of America, and Inter-American Music Review . He is the author of Isaac Albéniz: A Guide to Research ( Garland , 1998) and Isaac Albéniz: Portrait of a Romantic ( Oxford , 1999), now available in paperback ( Oxford , 2002), Spanish translation (Turner, 2002). He is the editor of From Tejano to Tango: Latin American Popular Music (Routledge, 2002). He has published research on topics as diverse as the lute and vihuela intabulations of Josquin's Mille Regretz , Albéniz's opera Merlin , the Hollywood musicals of Carmen Miranda, and the guitar studies of Fernando Sor. His latest book is Enrique Granados: Poet of the Piano ( Oxford , 2006). He is currently developing an educational video on flamenco in collaboration with Eugene Enrico and his Early Music Television production company at the University of Oklahoma . Filming took place in Sevilla in the summer of 2004, and the DVD, currently in post-production, is due out in late 2006.
SARA GROSS is a fifth-year graduate student in musicology at UCLA. She was the 2004 winner of the Ingolf Dahl competition for the best graduate-student paper at a joint meeting of Pacific Southwest and Northern California chapters of the American Musicological Society with her paper “Scarlatti and the Spanish Body: Cultural Influence in the Keyboard Sonatas of Domenico Scarlatti.” She plans to continue this work in a dissertation focused on keyboard performance and its cultural meaning in eighteenth-century Spain . Sara has also received a year-long Research Mentorship and a Summer Research Mentorship from UCLA for her work in this area. Some of her other interests include images of divine love in the seventeenth-century villancico and postcolonial studies, a field in which she won a competition sponsored by the University of California Transnational and Transcolonial Study Group with a paper focused on musical allusion in the work of Algerian author Assia Djebar. In addition, she is an avid pianist and budding harpsichordist.
JOSEPH JONES is a native Texan, with degrees from the University of the South and the University of Wisconsin , where he was trained as a medievalist, though he spent most of his career, before retirement from the University of Kentucky in 2001, teaching Golden Age prose. His Norton Critical Edition of Don Quixote , has been a standard university text for a quarter of a century. He is the author of articles and books on Cervantes, Guevara, and other Golden Age writers, on Humanism, early drama, and folklore, and the translator of Medieval Latin short narrative, Humanist Latin closet drama, the comedia , and Canavaggio's biography of Cervantes. Academic distinctions include PBK, various fellowships, and membership in the Hispanic Society of America. His interest in music and literature has produced studies of the 18th century melólogo and tonadilla , and he is currently editing, translating, and writing program notes for the Orchestra of New Spain (Dallas), which specializes in the performance of tonadillas and villancicos . His most recent work is an essay on María Lejárraga de Martínez Sierra, the librettist of Falla, Turina, and Usandizaga.
ELISABETH LE GUIN is one of the foremost Baroque cellists in the United States and has been praised for the vigor and sensitivity of her ensemble playing. She is a founding member of Philharmonia Baroque Orchestra and the Artaria String Quartet, and appears in numerous recordings on the Koch and Harmonia Mundi labels. Ms Le Guin received a doctorate in historical musicology at Berkeley in 1997, and currently teaches in that discipline at UCLA. Her academic interests are eclectic: she has published on Luigi Boccherini, the subject of her dissertation; on New Age music (in repercussions and in the New York Times ); on Debussy (in a forthcoming collection on postmodern listening); and on the relations between 17th-century horsemanship and music-making (in another forthcoming collection on information theory and the arts). All are connected by her over-arching interest in music as an embodied practice. Her book Boccherini: an Essay in Carnal Musicology , is forthcoming from University of California Press . She is the recipient of fellowships from the ACLS and the University of California , and she was the 2003 winner of the prestigious Alfred Einstein award from the American Musicological Society.
JOHN MILTON is a graduate of Princeton University and the Woodrow Wilson School of Public and International Affairs. He has traveled to all forty-seven mainland provinces of Spain , and lived or worked in several of its regions, as well as in Latin America . He is bilingual in English and Spanish, with a reading knowledge of Catalan. As a guest chef, he specializes in the food and wine of Spain , especially of the Catalan region. His introduction to the music of Spain came during studies on the classical guitar. Milton has written commentary and editorials for the St. Paul Pioneer Press and White Bear Press , feature articles for Ventures , investigative reporting for Corporate Report , speeches for political campaigns, short stories for The Arden , and recipes for several cookbooks. He's currently a contributing writer for the bilingual weekly La Prensa de Minnesota . Milton spent six years investigating the intriguing, passionate, and largely unknown life of Enrique Granados (1867-1916), the Barcelona piano virtuoso and composer. He followed Granados to every place where he lived, worked or visited in the last two decades of his life . . . from Barcelona to several towns and villages in Catalunya , Madrid , Paris , New York , Washington , and London . The result of these investigations is his engrossing novel The Fallen Nightingale , recently published by Swan Books. Milton lives with his wife, Maureen Angélica Acosta, on a small farm in Afton , Minnesota , where he writes and grows wine grapes.
LUISA MORALES is a specialist in Spanish keyboard music. She has given concerts in Europe , the United States , Canada and South America often under the auspices of the Spanish Embassy and the Department of Cultural and Scientific Relations of the Ministry of Foreign Affairs. She has published articles in music magazines and has taught courses and given lectures on Spanish keyboard music at several european universities and centers ( Edinburgh University , Shrine Music Museum ). She was a grant holder of the Ministry of Culture for four consecutive years for the International courses of Spanish music at Santiago de Compostela, the Manuel de Falla Courses at Granada and the Sweelinck Conservatorium at Amsterdam . In 1983 she won the Colemán and José Miguel Ruiz Morales prizes for interpreting Spanish music. From 1980 to 1990 she studied in Paris and Amsterdam under Rafael Puyana and Ton Koopman.
Recent publications include: (ed.) “ Claves y pianos españoles: interpretación y repertorio hasta 1830” (IEA 2003), “ Obras para tecla del siglo XVIII MM. de San Pedro de las Dueñas” (IFC 1997), articles in the music journals Nassarre (1996, 1997, 1999, 2002), Revista de Musicología (2000 y 2002), Early Keyboard Journal (in press), De Clavicordio Proceedings Magnano (2004) and CD's as harpsichord soloist: “Música Sorprendente del Monasterio de San Pedro de las Dueñas” (Caskabel), “Soler & Scarlatti in London” (in press). She is the founder and director of FIMTE (International Festival of Spanish Keyboard Music).
DOUGLAS RIVA, American pianist, has gained international recognition for his “profound knowledge of Spanish music” ( La Vanguardia , Barcelona ). No less an authority than the distinguished Spanish composer Xavier Montsalvatge has described Mr. Riva as “an exceptional pianist”. Mr. Riva's interpretations of the works of Enrique Granados (1867-1916), in particular, have earned him a place as one of this composer's leading exponents worldwide. In the words of El País ( Madrid ) Mr. Riva is “one of the principal apostles of Granados' music.” And according to Natalia Granados, the composer's daughter, “Mr. Riva knows everything relating to my father to perfection.”
In recognition of Mr. Riva's credentials as a Granados exponent, Naxos Records initiated a series of his recordings of the complete piano works of Granados. Six compact discs of the series have been released to date with the seventh scheduled for release in March, 2005. Critics consistently describe Mr. Riva's recordings as “splendid”, “masterly”, and “outstanding” while acclaiming his “superb artistry”, “elegance” and “poetic instincts”. Spanish critics writing in Scherzo praised Mr. Riva's interpretation of Granados' masterpiece as “belonging to the privileged class of the very best versions of Goyescas .” London 's The Guardian described Vol. 3 of the series as “a totally compelling performance [that] demands to be heard.”
Douglas Riva is the Assistant Director of the eighteenth and final volume of the critical edition of the Complete Works for Piano of Enrique Granados, directed by Alicia de Larrocha and published by Editorial Boileau, Barcelona . The Fallen Nightingale , a novel by John W. Milton based on the life of Enrique Granados, was published by Swan Books in 2005 and includes a compilation CD of Mr. Riva's recordings for Naxos .
An active recitalist, Mr. Riva has performed at the White House and at Carnegie Hall and has recorded numerous programs for television and radio in Brazil , Spain , Portugal , Holland , and the United States . He gave the first American performance of a newly discovered Scarlatti Sonata at the National Gallery of Art and the world premiere of Gazebo Dances by John Corigliano in Barcelona .
Douglas Riva started his musical education at the age of nine, studying both the piano and the flute. He began his professional career at the age of sixteen as the Principal Flutist of the El Paso ( Texas ) Symphony Orchestra. Later, devoting himself exclusively to the piano, he continued his studies at the Juilliard School, New York University, and at the Academia Marshall, founded by Granados.