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North America has been attracted by the composer Enrique Granados since his stay for three months in New York along the years 1915 and 1916, a trip lavishly detailed in two North American works of international recognition at the moment. The study of the family letters, kept in the private family archives, allowed me to revise for the first time 1 1 Se trata del trabajo de Carol Hess Enrique Granados. A Bio-Bibliography (Nueva York: Greenwood Press, 1991) y de la biografía de Walter A. Clark, Enrique Granados. Poet of the piano. (New York: Oxford University Press, 2006). in detail this trip to New York from Granados’ point of view and especially his wife’s, Amparo Gal. In these letters, his wife describes her impressions on the premiere of his opera Goyescas and the aims and projects that arise as a result of the opening night. This point of view is completed with the study of some other letters from contemporary prominent figures -also located in the family archives-, mainly from the pianist Ernest Schelling. I shall analyze here the projection of Granados as a model of the new musical Spanishness in New York and his denial to line up with the andalusian stereotypes expected from a Spanish composer in the second decade of the 20th century. Palabras clave: Granados, epistolario, revisión biográfica, nuevo españolismo.

ESTANCIA Y RECEPCIÓN DE ENRIQUE GRANADOS EN NUEVA YORK (1915-1916) DESDE LA PERSPECTIVA DE SU EPISTOLARIO INÉDITO