Manuel de Falla  
Manuel de Falla
Manuel de Falla, (born November 23, 1876, Cádiz, Spain—died November 14, 1946, Alta Gracia, Argentina), the most distinguished Spanish composer of the early 20th century. In his music he achieved a fusion of poetry, asceticism, and ardour that represents the spirit of Spain at its purest.

Falla took piano lessons from his mother and later went to Madrid to continue the piano and to study composition with Felipe Pedrell, who inspired him with his own enthusiasm for 16th-century Spanish church music, folk music, and native opera, or zarzuela. In 1905 Falla won two prizes, one for piano playing and the other for a national opera, La vida breve (first performed in Nice, France, 1913).

In 1907 he moved to Paris, where he met Claude Debussy, Paul Dukas, and Maurice Ravel (whose orchestration influenced his own) and published his first piano pieces and songs. In 1914 he returned to Madrid, where he wrote the music for a ballet, El amor brujo (Love, the Magician; Madrid, 1915), remarkable for its distillation of Andalusian folk music. Falla followed this with El corregidor y la molinera (Madrid, 1917), which Diaghilev persuaded him to rescore for a ballet by Léonide Massine called El sombrero de tres picos (The Three-Cornered Hat; London, 1919). Noches en los jardines de España (Nights in the Gardens of Spain; Madrid, 1916), a suite of three impressions for piano and orchestra, evoked the Andalusian atmosphere through erotic and suggestive orchestration. All these works established Falla internationally as the leading Spanish composer.

Falla then retired to Granada, where in 1922 he organized a cante hondo festival and composed a puppet opera, El retablo de Maese Pedro. Like the subsequent Harpsichord Concerto (1926), containing echoes of Domenico Scarlatti, the Retablo shows Falla much influenced by Igor Stravinsky. Falla’s style was then Neoclassical instead of Romantic, still essentially Spanish, but Castilian rather than Andalusian. After 1926 he wrote little, living first in Mallorca and, from 1939, in Argentina.

Encyclopædia Britannica
Manuel de Falla was Spain's first major nationalist composer. Born in Cadiz, Andalusia, he received his first piano lessons from his mother. He was torn between a literary and a musical career, but having decided on music, he proceeded to work hard at both the piano and composition. In 1902 he went to study with the Spanish composer and musicologist Felipe Pedrell, who was known for his belief that a country's music should draw on its native folk culture, and who impressed this on his pupils. He found a kindred spirit in Falla, whose first major work, the opera La vida breve (The Short Life, 1905), made copious use of local folklore.

In 1907 Falla travelled to Paris, where he was befriended by musicians such as Debussy and Ravel. At the outbreak of World War I, he returned to Spain and entered his most creative period. In 1915 he composed El amor brujo (Love the Magician), a ballet inspired by Spanish folk art, and the following year wrote one of his most beautiful and moving works, Noches en los jardines de Espana (Nights in the gardens of Spain). This suite of three symphonic impressions for piano and orchestra integrates Spanish folk music with colourful orchestration reminiscent of Rimsky-Korsakov. Of the three movements the first is the most atmospheric and makes use of shimmering, drifting harmonies, while the second and third are more exuberant and dancelike.

Falla's reputation was firmly established in 1919 with the ballet El sombrero de tres picas (The Three-Cornered Hat). Full of humour and panache, it was received rapturously at its premiere in London. The enthrallingly vital and dramatic last movement can hardly fail to excite as the music sweeps the listener along. It shows Falla's music at its most witty and ebullient, rhythmical and lyrical in turn, and treating the orchestra almost as a giant guitar.

Given his interest in Spanish nationalism it is not surprising that Falla chose to set parts of Cervantes' Don Quixote. The resulting chamber opera, El retablo de Maese Pedro (Master Peter's puppet show), was first performed in 1923 and consolidated Falla's reputation as a composer of flair and dexterity. His last major work was a Harpsichord concerto, written in 1926 for the Polish virtuoso Wanda Landowska. After this Falla became less productive musically. The traumas of the Spanish Civil War (1936—9) nearly crushed him, so delicate was his state of health. In 1939 he accepted an invitation to visit Argentina, where he lived until his death in 1946.

Although no revolutionary, Falla successfully shaped elements of traditional Spanish music and created a colourful musical style distinctly his own.
Daniel Barenboim - Manuel de Falla - Nights in Spanish Gardens
Daniel Barenboim piano
Manuel de Falla - Nights in Spanish Gardens
Chicago Symphony Orchestra

1. In the Generalife
2. Distant dance
3. In the Gardens of the Sierra de Córdoba

El Amor Brujo - Manuel de Falla - DRSO - Rafael Frühbeck de Burgos
El Amor Brujo 1915 - Manuel de Falla - DRSO - Rafael Frühbeck de Burgos
Manuel de Falla 1876-1946
Danmarks Radio
Manuel de Falla - El Sombrero de Tres Picos - Complete Ballet
El Sombrero de Tres Picos - Complete Ballet
(The Three-Cornered Hat / Le tricorne / Der Dreispitz - 1919)

Orquesta Sinfónica de RTVE
Carlos Kalmar - Conductor

Maria del Mar Campo - Mezzosoprano

Introducción y escena - Introduction and Scene
La tarde - Afternoon
Danza de la molinera (Fandango) - Dance of the Miller's Wife
Las uvas - The Grapes
Danza de los vecinos (Seguidilla) - Dance of the Neighbors
Danza del molinero (Farruca) - Dance of the Miller
Danza del corregidor - Dance of the Magistrate
Danza final (Jota)

Falla - The Three-Cornered Hat - Proms 2013
Mezzo-soprano Clara Mouriz joins conductor Juanjo Mena and the BBC Philharmonic in Falla's colourful Ballets Russes commission The Three-Cornered Hat, a tale of intrigue and jealousy shot through with the spirit of Spanish folk dances.
Manuel de Falla: La vida breve
Manuel de Falla - El Retablo de Maese Pedro (1923)
El Retablo de Maese Pedro (en français: Les Tréteaux de Maître Pierre; en anglais: Master Peter's Puppet Show) est un petit opéra en un acte pour orchestre de chambre (y compris un clavecin) et trois chanteurs, avec marionnettes et personnages réels. Inspiré d'un épisode du Don Quichotte de Miguel de Cervantes (chapitres XXV et XXVI de la seconde partie du livre) et réalisé à la demande de la princesse de Polignac, il fut tout d'abord présenté en version de concert à Séville le 23 mars 1923, puis pour la première fois à Paris le 25 juin suivant. Dans l'épisode en question, le chevalier Don Quichotte assiste à un spectacle de marionnettes dirigé par Maître Pierre, qui raconte l'histoire de Don Gaïferos parti sauver sa promise Mélisendre retenue captive par le roi maure Marsilio (lors de la scène finale opposant les maures à Don Gaïferos, Don Quichotte, croyant voir dans les marionnettes de véritables guerriers, se précipite sur le théâtre l'épée à la main et dévaste tout, au grand dam de Maître Pierre qui, pleurant sur son sort, ramasse les débris de son théâtre).

Interprètes :
- Orchestre Symphonique de Montréal, dirigé par Charles Dutoit;
- Justino Díaz, baryton-basse ("Don Quichotte");
- Joan Cabero, ténor ("Maître Pierre");
- Xavier Cabero, soprano garçon (le "Trujamán", narrateur).

[00:00] Proclamation et Symphonie de Maître Pierre;
[04:10] Scène 1 - La Cour de Charlemagne;
[09:47] Scène 2 - Melisendre;
[14:13] Scène 3 - Le Châtiment du Maure;
[15:35] Scène 4 - Les Pyrénées;
[19:56] Scène 5 - La Fuite;
[20:42] Scène 6 - La Poursuite;
[22:21] Finale (bataille et saccage du théâtre par Don Quichotte).

Ricardo Requejo - Manuel de Falla (1876-1946): The Complete works for Piano solo
The Complete works for Piano solo
Obra Completa para piano

1. Nocturno (1986) 00:00
2. Mazurka do menor (1899)
3. Serenata andaluza (1900) 05:17
4. Cancion (1900)
5. Vals capricho (1900) 10:43
6. Cortejo de gnomos (1901)
7. Serenata (1901) 14:40
8. Allegro de concierto (1903)

9. Aragonesa 18:13
10. Cubana
11. Montañesa 22:02
12. Andaluza
13. Fantasía baetica (1919) 26:57
14. Pour le tombeau de Claude Debussy (1920)
15. Canto de los remeros del Volga (1922) 42:33
16. Pour le tombeau de Paul Dukas (1935)

Ricardo Requejo, Piano

Real Filharmonía de Galicia - Manuel de Falla: El sombrero de tres picos & Fuego fatuo
El sombrero de tres picos
(Orchestral Suites No. 1 & 2)

1. Introducción  00:00
2. La tarde 01:25
3. Danza de la molinera (Fandango) 06:52
4. Las uvas 10:28
5. Danza de los vecinos (Seguidillas) 14:38
6. Danza del molinero (Farruca) 17:44
7. Danza del corrigedor 24:39
8. Danza final (Jota) 31:00

Fuego fatuo
(Orchestral Suite on themes by Frédéric Chopin)
Symphonic adaptation by Antoni Ros Marbà

9. I. Moderato 37:15
10. II. Andantino mosso 42:15
11. III. Allegro ma non troppo 45:25
12. IV. Molto allegro 48:22
13. V. Mesto 53:08
14. VI. Allegro, tempo di tarantella 57:15
15. VII. Allegro ma non troppo 01:00:04
16. VIII. Andante, molto tranquillo 01:02:14
17. IX. Moderato 01:05:03

Real Filharmonía De Galicia
Antoni Ros Marbà, Conductor
Marisa Martins, Mezzo-Soprano

Manuel de Falla : El amor brujo - Fritz Lehmann & Berliner Philharmoniker
El amor brujo (L'amour sorcier)

Diana Eustrati, mezzo-soprano
Berliner Phiharmoniker, dir. Fritz Lehmann
Enregistré en mars 1954

El Amor Brujo - Manuel de Falla
Gitanería de Manuel de Falla, "El Amor Brujo" versión 1915, Orquesta Sinfónica de la UCAM- director: Alejandro Curzio
Candelas: Joana Jiménez
Jumilla 20 agosto 2015 - Jardín de la Glorieta
De Falla - Amor Brujo - piano 4 hands
Manuel de Falla - Danse espagnole (Spanish dance)
Violin: Katica Illenyi (Illényi Katica)
Dohnányi Orchestra Budafok
Conductor: Istvan Sillo (Silló István)
Manuel de Falla - Danza ritual del Fuego - Ritual Fire Dance
La Folle Journée de Varsovie 2013, Szalone Dni Muzyki w Warszawie, The Grand Theatre in Warsaw, Poland, September 29
Symphony Orchestra of The Stanisław Moniuszko Music School in Wałbrzych, Poland
Małgorzata Sapiecha - conductor
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