Manuel de Falla - El Amor Brujo
MANUEL DE FALLA 1876 - 1946
EL AMOR BRUJO (Love the Magician)
Introduction et Scène
Chanson du Chagrin d’Amour
Le Cercle Magique
Minuit - Les Sortilèges
Danse Rituelle du Feu
Scène
Chanson du Feu Follet
Pantomima
Danse du Jeu d’Amour
Final
With his elder contemporaries, Albéniz and Granados, de Falla was one of the first Spanish composers to win international renown, and was possibly the most gifted of the three. Whilst he learnt a great deal from French colleagues, his art remained deeply rooted in the folk music of Spain, and much of his early efforts were concentrated on a thorough study of ‘Cante Jondo’, the primitive song of Andalusia.
In 1907, anxious to extend his musicianship, de Falla took a week’s return ticket to Paris. In the event he did not return to Madrid for three years, having in the meantime significantly improved his technique and gained the friendship of Debussy, Ravel and Dukas. El Amor Brujo, the first major work to be completed after his return in 1914, was written as a loosely linked entertainment featuring the gypsy dancer Pastora Imperio, reportedly the only woman ever to have aroused the interest of this austere, lifelong bachelor.
The story concerns a beautiful gypsy girl and her suitor, who are haunted by the spectre of her dead lover which comes between them, persecuting the young woman. Her pretty girl friend is persuaded to act as a lure and succeeds in diverting the amorous ghost, and the two lovers at last achieve freedom to be alone together while church bells peal out as a sign of Christian triumph over sorcery.
The music includes the the famous ‘Ritual Fire Dance’, hypnotic and terrifying, which the heroine performs at midnight in order to banish evil spirits. Equally moving, with its ring of metallic despair, is the ‘Chanson du Chagrin d’Amour’ (Song of sorrowful love) which contrasts with the languorous ‘Pantomima’, written in 7/8 time.
Unfortunately the première of El Amor Brujo at the Teatro Lara, Madrid, in April 1915 was not a success. De Falla later adapted the work as an orchestral suite and eventually as the ballet with songs known today. In this chamber version de Falla brilliantly shows his genius for evoking the idiom of his native folk music while remaining entirely original.
In 1907, anxious to extend his musicianship, de Falla took a week’s return ticket to Paris. In the event he did not return to Madrid for three years, having in the meantime significantly improved his technique and gained the friendship of Debussy, Ravel and Dukas. El Amor Brujo, the first major work to be completed after his return in 1914, was written as a loosely linked entertainment featuring the gypsy dancer Pastora Imperio, reportedly the only woman ever to have aroused the interest of this austere, lifelong bachelor.
The story concerns a beautiful gypsy girl and her suitor, who are haunted by the spectre of her dead lover which comes between them, persecuting the young woman. Her pretty girl friend is persuaded to act as a lure and succeeds in diverting the amorous ghost, and the two lovers at last achieve freedom to be alone together while church bells peal out as a sign of Christian triumph over sorcery.
The music includes the the famous ‘Ritual Fire Dance’, hypnotic and terrifying, which the heroine performs at midnight in order to banish evil spirits. Equally moving, with its ring of metallic despair, is the ‘Chanson du Chagrin d’Amour’ (Song of sorrowful love) which contrasts with the languorous ‘Pantomima’, written in 7/8 time.
Unfortunately the première of El Amor Brujo at the Teatro Lara, Madrid, in April 1915 was not a success. De Falla later adapted the work as an orchestral suite and eventually as the ballet with songs known today. In this chamber version de Falla brilliantly shows his genius for evoking the idiom of his native folk music while remaining entirely original.
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