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FALLA: El Amor Brujo / El Retablo de Maese Pedro

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Manuel de Falla (1876 -1946)

El Amor Brujo (Love the Magician)

Gitaneria en un acto y dos cuadros (Gypsy Ballet in One Act andTwo Scenes)

Libretto: Gregorio Martinez Sierra

Original Version (1915) Nancy FabiolaHerrera, Mezzo-Soprano Dialogue: Natacha Valladares .Ismael Pons-Tena

Cameristi Diego Dini-Ciacci, Conductor

Cuadro primero I Scene 1

[1] Introducci6n y Escena I Introductionand Scene

[2] Canci6n del amor dolido ISong of the Pain ofLove

[3] Sortilegio (A media noche) I Enchantment(At midnight)

[4] Danza del fin del dia I Dance of the End of the Day

[5] Escena (El amor vulgar) I Scene (Ordinary Love)

[6] Romance del pescador I Romance of the Fisherman

[7] Intermedio (Interlude)


Cuadro segundo I Scene 2

[8] Introducci6n (El fuego fatuo) I Introduction(Will-o'-the-Wisp)

[9] Escena (El Terror) I Scene (Terror)

[10] Danza del fuego fatuo IDance of theWill-o'-the-Wisp

[11] Interludio (Alucinaciones) I Interlude (Hallucinations)

[12] Canci6n del fuego fatuo I Song of the Will-o'the-Wisp

[13] Conjuro para reconquistar el amor perdidoI Spell to win back lost love

[14] Escena (El amor popular) I Scene (Common Love)

[15] Danza y Canci6n de la bruja fingida IDance and Song of the False Witch

[16] Final (Las campanas del amanecer) I Finale (Bells of Morning)


El Retablo de Maese Pedro (Master Peter'sPuppet Show) Adaptaci6n musical y escenica de un episodio de El IngeniosoCaballero Don Quixote de la Mancha de Miguel de Cervantes (Musical and DramaticAdaptation of an episode from The Ingenious Knight Don Quixote de la Mancha ofMiguel de Cervantes)

Maese Pedro Jordi Galofre, Tenor El TruijamiinNatacha Valladares, Soprano Don Quijote Ismael Pons- Tena, Baritone

I Cameristi .Maurizio Dini-Ciacci,Conductor

[17] El Pregon! The Proclamation

[18] Sinfonia de Maese Pedro! Sinfonia ofMaster Peter

[19] Cuadro I. La Cortede Carlo Magno / Scene 1. The Court of Charlemagne

[20] Cuadro II. Melisendra ! Scene 2.


[21] Cuadro III. El suplicio del Moro /Scene 3. The Moor's Punishment

[22] Cuadro IV. Los Pirineos / Scene 4. ThePyrenees

[23] Cuadro V. La fuga! Scene 5. The Escape

[24] Cuadro VI. La persecucion / Scene 6.

The Pursuit

[25]Final! Finale


Manuel de Falla was born in Ciidiz in 1876and had his early musical training and education there, deciding at the age ofseventeen to embark on a career as a composer. He studied at the MadridConservatory and from the turn of the century earned a living from thecomposition of zarzuelas, most of which have not survived. Study with Pedrell,an important figure in the creation of Spanish musical nationalism in anacceptable international musical language, was followed by a seminal period ofnearly seven years in Paris, during which he had encouragement fromPaul Dukas, as well as from Debussy, Ravel and the Spanish composer Albeniz. Spain had exercised a musical fascination over Frenchcomposers, from saint-saens and Bizet to Debussy and Ravel and now Falla couldexert his own Spanish influence over contemporary French composers with whom heconsorted. His reputation was definitively established with the staging of theopera La vida breve in Nice in 1913 and a collaboration with Dyagilevthat led to the staging in London in 1919 of El sombrero de tres picas (TheThree-Cornered Hat) by the Ballets russes, with decor by Picasso andchoreography by Massine.


After his return to Spain in 1914, with the outbreak of war, Falla continuedhis study of the traditional cante jondo of Andalucia. h11915 hepresented his gitaneria, a gypsy piece, in Madrid, followed the nextyear by his evocative work for piano and orchestra Noches en las jardines deEspafla (Nights in the Gardens of Spain). Settling in Granada, theinspiration for the Fantasia betica, commissioned by Rubinstein, hefulfilled a commission from Princess Edmond de Polignac (nee Winnie Singer) forthe small-scale theatre piece, El retablo de Maese Pedro, a profoundlySpanish work, based on Cervantes, and composed the neo-classical summary of hiswork of synthesis of the national and international, the Concierto para clavicembalo.

Much of his later life was spent in work on Atltintida, achoreographic poem based on a text derived from the Catalan of Jacinto V erdaguer.This remained unfinished at the time of FaI1a's death in Argentina in 1946. He had spent the years of the Civil War in Granada. His deeply Catholic sympathies led him to deplorethe appalling excesses of the Republicans, the burning of churches and thepersecution of the clergy, as much as he deplored and lamented the murder ofhis friend Federico Garcia Lorca, and his move to Argentina came about by theaccident of an invitation in 1939 to present concerts in Buenos Aires, ratherthan for any political motives. War-time difficulties and dangers of travel,even in neutral ships, will have played a part in keeping him abroad. After afuneral service in the Cathedral of the Argentinian Cordoba, his body wasbrought back to Spain, to be interred with due honour in CadizCathedral.

Disc: 1
El Retablo de Maese Pedro (Master Peter's Puppet S
1 Scene 1: Introduction y Escena (Introduction and S
2 Scene 1: Cancion del amor dolido (Song of the Suff
3 Scene 1: Sortilegio: A media noche (Enchantment: A
4 Scene 1: Danza del fin del dia (Dance of the End o
5 Scene 1: Escena: El amor vulgar (Scene: Ordinary L
6 Scene 1: Romance del pescador (Romance of the Fish
7 Scene 1: Intermedio (Interlude)
8 Scene 2: Introducion: El fuego fatuo (Introduction
9 Scene 2: Escena: El Terror (Scene: Terror)
10 Scene 2: Danza del fuego fatuo (Dance of the Will-
11 Scene 2: Interludio: Alucinaciones (Interlude: Hal
12 Scene 2: Cancion del fuego fatuo (Song of the Will
13 Scene 2: Conjuro para reconquistar el amor perdido
14 Scene 2: Escena: El amor popular (Scene: Common Lo
15 Scene 2: Danza y Cancion de la bruja fingida (Danc
16 Scene 2: Final: Las campanas del amanecer (Finale:
17 El Pregon (The Proclamation)
18 Sinfonia de Maese Pedro (Sinfonia of Master Peter)
19 Scene 1: La Corte de Carlo Magno (The Court of Cha
20 Scene 2: Melisendra
21 Scene 3: El suplico del Moro (The Moor's Punishmen
22 Scene 4: Los Pirineos (The Pyrenees)
23 Scene 5: La fuga (The Escape)
24 Scene 6: La persecucion (The Pursuit)
25 Final (Finale)
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