Gallant flatteries

Develops two motifs on the rhythmic foundation of the jota (dance).

The first is of a refined grace, happy, almost mannered; the second is very free in inspiration.

Thus are fused the freedoms of sound of the tonadillas, popular melodic songs of which Granados was fond

Conversation through a grating,

probably of a goal, does not have the carefree quality of the first piece.

The amourous conversation,often whispered, is a mixture of ardent passion and resigned suffering.

The candle -lit fandango

is a dance from which springs a warm and lyrical melody among the sonorities of guitars and the clicking of castanets

"Grievances "or "the maiden and the nightingale"

illustrates the tender pain of the beloved as confided to the nightingale.

Granados defined the feeling thus:" With the jealousy of a woman and not the sadness of a window" in the perfumes of the night the trillings of the nightingale respond to the sadness of the maiden

("Love and death: ballad")

again uses melodies heard before, but this time they are for the death of the Majo, the greatly loved young man.

Toll-like sonorities punctuate the piece with expressive simplicity. Granados wished the music to emanate "a sort of happiness amongst all the sadness"

("Epilogue: the spectre's serenade")

Evokes, at the end of this work, the ghostly return of the lover killed in a duel.

Beneath the windows of his beloved, he sings a serenade.

If one calls to mind certain of Goya's etchings it is a serenade satanic and full of vengeance.

Then the spectre disappears,and thus concludes this piano suite dedicated to unhappy lovers

("the straw manikin")

is the well-known seventh piece added to Goyescas by the composer to use in his opera.

It is directly inspired by Goya's picture of the same name.

The rag doll, tossed up and down in a sheet held by young girls, forms a cheeky yet cruel satire.

The final touch, given by the marionette removed from his box, is the inspiration for the audacious conclusion of the work