Asturias (Leyenda)
Genre: Classical | Recording: Live
John Williams’s Rhythmic Intensity in Albéniz’s Spanish Masterwork
The piece Asturias (Leyenda) is one of the most popular compositions in the classical guitar repertoire, despite being originally written by Isaac Albéniz for the piano. Williams’s interpretation showcases why it has become synonymous with the guitar: its driving bass line, rapid-fire tremolo melody, and abrupt changes in mood perfectly emulate the spirit of Spanish folk music and the flamenco tradition.
This 1975 live performance is a masterclass in Williams’s characteristic approach: technical rigor married to dramatic clarity. The work’s complexity, built around relentless rhythmic precision and surgical articulation, is handled with effortless command. Williams avoids the romantic flourishes common to some interpretations, instead focusing on the music’s architectural intensity and propulsion.
This same commitment to rhythmic integrity is evident in his recording of Bach’s Lute Suite No. 3, where he demonstrates total control over Baroque counterpoint. His disciplined, technically flawless approach to the Spanish canon aligns with the influential work of Andrés Segovia in bringing these works to the international stage.
Of particular note is his control over the dynamics, capturing the work’s inherent tension and release. This powerful blend of technical command and dramatic flair is also the hallmark of his essential performance of Paganini’s Caprice, Op. 1, No. 24. The concert footage preserves the moment when Williams transformed pure technique into profound musicality, setting a clear benchmark for guitarists worldwide.
Recording Details
| Piece | Asturias (Leyenda) |
|---|---|
| Guitarist | John Williams |
| Composer | Isaac Albéniz |
| Work Title | Suite española, Op. 47 No. 5 |
| Catalogue No. | B. 29 |
| Event | Live Performance |
| Date | November 19, 1975 |
💬 Tell us about this definitive performance.
Asturias was written for the piano, yet it sounds entirely native to the guitar. Which element of Williams’s performance—the rhythmic intensity of the tremolo or the dramatic, almost flamenco, changes in dynamics—makes the strongest case for the guitar being its true home? Drop your thoughts below and join the conversation.