Music 3228 Topics in Music History Manuel de

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Music 3228 Topics in Music History Manuel de Falla Music of Spain Room 402,

Music 3228 Topics in Music History Manuel de Falla Music of Spain Room 402, WF @ 12: 30 p. m. Dr. Dena Kay Jones

Review Ø During the 19 th Century, not much musical activity other than ZARZUELA

Review Ø During the 19 th Century, not much musical activity other than ZARZUELA Ø HOWEVER, other musicians (predominantly French) are capitalizing on the “Spanish Idiom: ” l l l Bizet’s Carmen (premiere March 3, 1875) Chabrier’s España Lalo’s Symphonie Espagnol

Felipe Pedrell (1841 -1922)

Felipe Pedrell (1841 -1922)

Pedrell Ø Lyrical Opera, Los Pirineos Ø Most important: Philosophies on Spanish Nationalism Ø

Pedrell Ø Lyrical Opera, Los Pirineos Ø Most important: Philosophies on Spanish Nationalism Ø Collection of both Spanish Art Music AND folklore; Cancionero Popular Español, 1918 -1922

Pedrell’s nationalist philosophies: Ø 1) Using both cultivated and popular folklore music in current

Pedrell’s nationalist philosophies: Ø 1) Using both cultivated and popular folklore music in current composition Ø 2) By using these melodies, harmonies, and rhythms, composers were simply carrying on an unbroken tradition of representing Spanish music Ø 3) The musical traditions were notable for their local differences (not only Andalucian)

IMPORTANT!! Historical material would be included in current compositions

IMPORTANT!! Historical material would be included in current compositions

What is the “Spanish Idiom” Ø PREDOMINANTLY, Musical language found in the Arab-influenced regions

What is the “Spanish Idiom” Ø PREDOMINANTLY, Musical language found in the Arab-influenced regions of Southern Spain

Three important events in the history of Spanish music Ø Spanish church of Byzantine

Three important events in the history of Spanish music Ø Spanish church of Byzantine liturgical music (middle eastern influenced = mozarabic) Ø Muslim invasion in Spain Ø Immigration and establishment of gypsies (gitanos)

Mozarabic Chant Ø Mozarabic chant: modes were favored (dorian and phrygian) Ø Passing notes

Mozarabic Chant Ø Mozarabic chant: modes were favored (dorian and phrygian) Ø Passing notes incorporated into melodies Ø Absence of strict meter in the melodic line, which frequently modulated away from its tonal center.

Arab Invasion of 711 CULTURE Ø Complex rhythms Ø

Arab Invasion of 711 CULTURE Ø Complex rhythms Ø

Gypsies in Spain Ø Cante jondo l l Smaller intervals in the scale Portamento

Gypsies in Spain Ø Cante jondo l l Smaller intervals in the scale Portamento Repetition of the same note Strong reactions

Other Spanish Customs Ø Regional traditions Ø The guitar!!

Other Spanish Customs Ø Regional traditions Ø The guitar!!

Manuel de Falla (1876 -1941)

Manuel de Falla (1876 -1941)

Early Years Born in Cádiz on November 23, 1876 Ø His father was from

Early Years Born in Cádiz on November 23, 1876 Ø His father was from Valenica and his mother from Catalonia Ø La Morilla Ø Religious Ø Strong beginnings in music education Ø

Madrid Years Ø By 1899 he is successful as a music student in the

Madrid Years Ø By 1899 he is successful as a music student in the Madrid Conservatory Ø Allegro de Concierto (ca. 1900)

One of ths most important aspects of Madrid Years Ø Meets Pedrell Ø Worked

One of ths most important aspects of Madrid Years Ø Meets Pedrell Ø Worked three years together Ø …Spanish music and its history “involves a perception not only of the pastness of the past, but of its presence. ” (T. S. Eliott, 1932)

La Vida Breve Ø Music by Falla Ø Libretto by Carlos Fernández Shaw Ø

La Vida Breve Ø Music by Falla Ø Libretto by Carlos Fernández Shaw Ø Hurried composition for competition deadline Ø Academia de Bellas Artes Ø Staged, produced and performed in FRANCE

La Vida Breve Two-act lyric opera drama Ø Synopsis: Ø l l l Ø

La Vida Breve Two-act lyric opera drama Ø Synopsis: Ø l l l Ø Salud Paco Carmela Verismo

Paris Years (1907 -1914) Ø Friends: Debussy, Ravel, Albéniz, and ØTwo Major Works: ØSiete

Paris Years (1907 -1914) Ø Friends: Debussy, Ravel, Albéniz, and ØTwo Major Works: ØSiete canciones populares españolas (1907 -1911) ØNoches en las jardines de España (1911 -1915)

Siete canciones populares españolas Ø El Pano moruno Ø Seguidilla murciana Ø Austuriana Ø

Siete canciones populares españolas Ø El Pano moruno Ø Seguidilla murciana Ø Austuriana Ø Jota Ø Nana Ø Canción Ø Polo

Pedrell’s influence is evident Ø Actual folk melodies Ø Composed in the style of

Pedrell’s influence is evident Ø Actual folk melodies Ø Composed in the style of a particular region Ø Completely new

Siete canciones populares españolas Ø El Pano moruno – actual folk melody Ø Seguidilla

Siete canciones populares españolas Ø El Pano moruno – actual folk melody Ø Seguidilla murciana – actual folk melody Ø Austuriana – based on model Ø Jota – completely new Ø Nana – based on model Ø Canción – based on model Ø Polo – completely new

Nana Ø Repetition of harmony Ø Complex rhythms Ø Intermittent and intermediate pitches Ø

Nana Ø Repetition of harmony Ø Complex rhythms Ø Intermittent and intermediate pitches Ø E Major, Dorian, Phrygian, E Major with a lowered 2 nd, 7 th, and 8 th

Noches en las jardines de España En el Generalife (summer palace of the Moorish

Noches en las jardines de España En el Generalife (summer palace of the Moorish kings in Granada) Ø Danza lejana Ø En los jardines de la Sierra de Córdoba Ø l l l Dedicated to Viñes 1911 -1915 “Only true impressionistic work” Each movement is monothematic Full of complex rhythms, Andalucian harmonies, various guitar effects in the piano

Falla returns. El to Spain: Amor to Madrid in 1914 Ø El Amor Brujo

Falla returns. El to Spain: Amor to Madrid in 1914 Ø El Amor Brujo – 1915 – Love the Sorcerer Ø Commissioned by the famous Russian choreographer and ballet commissioner, Sergei Diaghilev Ø Brujo

Ritual Fire Dance, poster for El Amor Brujo

Ritual Fire Dance, poster for El Amor Brujo

El Amor Brujo The Gypsy Ballet Ø Synopsis Ø l l Candelas Carmelo Ghost

El Amor Brujo The Gypsy Ballet Ø Synopsis Ø l l Candelas Carmelo Ghost Lucía

El Sombrero de Tres Picos (1919) Ø Another comission for the Ballet Russe Ø

El Sombrero de Tres Picos (1919) Ø Another comission for the Ballet Russe Ø Symopsis: l l l Corregidor Miller’s Wife

Fantasia Baetica (1919) Ø Most difficult piano work Ø Commissioned by Artur Rubinstein Ø

Fantasia Baetica (1919) Ø Most difficult piano work Ø Commissioned by Artur Rubinstein Ø Represents Andalucía and all of its culture: flamenco, Arabic influence, Roman influence and even prehistoric Cádiz Ø Disjunct, difficult to play, harmonic and melodic material is complex…

Homenaje a Debussy (1920) Ø Written in response to the call for works in

Homenaje a Debussy (1920) Ø Written in response to the call for works in memoriam to Debussy Ø Only guitar work Ø Based on the Soirée dans Grenade by Debussy Ø Habanera rhythm Ø Very slow harmonic changes with lyrical and soulful melody Ø Direct quote

Concerto for harpsichord (or piano), flute, oboe, clarinet, violin and cello Ø Homage to

Concerto for harpsichord (or piano), flute, oboe, clarinet, violin and cello Ø Homage to Scarlatti Ø Written in a more modern musical language Ø 16 th century villancico Ø Allegro, Lento and Vivace Ø 10 minutes

Harpsichord Concerto Ø Magnificent effects of sonority Ø “The last movement, marked flessibile, scherzando,

Harpsichord Concerto Ø Magnificent effects of sonority Ø “The last movement, marked flessibile, scherzando, with its characteristic sparkle; it is very Scarlattian, yet only Falla could have written it. ” --Gilbert Chase Ø Commissioned by Wanda Landowska

El Retablo de Maese Pedro Ø Chamber opera for puppets Ø Synopsis: l l

El Retablo de Maese Pedro Ø Chamber opera for puppets Ø Synopsis: l l l Don Quixote Maese Pedro Boy

Puppet Show! Ø Premiered at a private home in 1923 Ø Large stage problems

Puppet Show! Ø Premiered at a private home in 1923 Ø Large stage problems Ø Scored for a small orchestra = 25 Ø Calls for audience’s knowledge of Spain’s historical background of music: l l l Ties to Cervantes, Seventeeth-century Spanish music Spain’s folkloric traditions

HOMEWORK for Monday Ø Read from the Tomás Marco text: 44 and 101 -118

HOMEWORK for Monday Ø Read from the Tomás Marco text: 44 and 101 -118 pp. 34 -