Music 3228 Topics in Music History Manuel de
- Slides: 35
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 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)
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 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
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 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 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
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!!
Manuel de Falla (1876 -1941)
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 Conservatory Ø Allegro de Concierto (ca. 1900)
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 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 Salud Paco Carmela Verismo
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 Jota Ø Nana Ø Canción Ø Polo
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 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 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 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 – 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
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 Symopsis: l l l Corregidor Miller’s Wife
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 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 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, 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 l Don Quixote Maese Pedro Boy
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 pp. 34 -
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