Manuel de Falla (1876-1946)
\nSiete canciones populares espa\u00f1olas<\/b><\/p>\n
Although de Falla spent seven beautiful years of his life in Paris, exposed to the art of Debussy and Ravel, he was a true, Cadiz-born Andalusian. And, as an Andalusian, he almost naturally permeated his music with that hardly definable phenomenon, the duende.
\nBetween his piano concerto nicknamed \u201cNights in the Gardens of Spain\u201d (1909) or the opera La vida breve, and his song cycle Siete canciones populares espa\u00f1olas and his ballet El amor brujo (1915), he wrote music rooted in his native culture and full of significant expression. Federico Garcia Lorca reminds us that \u201cthe great artists of the Spanish South know very well that there is no real emotion in song, dance, or play, without the duende.\u201d
\nAlthough this cycle of seven Spanish folksongs brings together melodies and rhythms from the North as well as the South of the country, the duende makes itself felt. Roman Kowal, who devoted a separate essay to these songs, saw in de Falla\u2019s work \u201cthe endless cycle of the experience of love,\u201d measured out by the sequence of emotions: \u201clove \u2013 happiness \u2013 betrayal and \u2013 hate,\u201d when one\u2019s lips pronounce the curse of \u201cmalaya el amor, malaya!\u201d He saw the seven songs as \u201ca great arch of lament, as an arrested cry, noble, worthy of a Spaniard.\u201d<\/p>\n
\u2219 El pa\u00f1o moruno is an Andalusian solea, song of solitude, jeering and bitter. The songs asks unanswerable questions, the piano gives an impression of a guitar.<\/p>\n
\u2219 Seguidilla murciana. This dance, akin to a bolero, comes from Murcia that borders on Andalusia. Condemnation and curses: \u201cYou are like money, going from hand to hand!\u201d<\/p>\n
\u2219 Asturiana is a subdued, lyrical lamento, based on a song from those parts: \u201cthe pine wept with me.\u201d<\/p>\n
\u2219 Jota. This dancing song, of Aragonian origin, is on the antipodes of canto hondo. \u201cFarewell! Farewell\u2026 until tomorrow.\u201d<\/p>\n
\u2219 Na\u00f1a. A new moment of lyrical musing: a lullaby weaves an arabesque of a melody over a piano ostinato. It borders on silence: \u201eSleep, my child, sleep.\u201d<\/p>\n
\u2219 Canci\u00f3n is a song of curse and contempt. \u201cHow treacherous are your eyes! Let them be buried!\u201d<\/p>\n
\u2219 Polo is a return to the point of departure, the canto hondo of Andalusia, a solea, a lonely man\u2019s complaint of his fate, more cried out than sung.<\/p>\n
Mieczys\u0142aw Tomaszewski<\/b><\/p>","protected":false},"excerpt":{"rendered":"
Manuel de Falla (1876-1946) Siete canciones populares espa\u00f1olas Although de Falla spent seven beautiful years of his life in Paris, exposed to the art of Debussy and Ravel, he was a true, Cadiz-born Andalusian. And, as an Andalusian, he almost naturally permeated his music with that hardly definable phenomenon, the duende. Between his piano concerto […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[26],"tags":[],"class_list":["post-175","post","type-post","status-publish","format-standard","hentry","category-f"],"_links":{"self":[{"href":"https:\/\/beethoven.org.pl\/encyklopedia\/en\/wp-json\/wp\/v2\/posts\/175","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/beethoven.org.pl\/encyklopedia\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/beethoven.org.pl\/encyklopedia\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/beethoven.org.pl\/encyklopedia\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/beethoven.org.pl\/encyklopedia\/en\/wp-json\/wp\/v2\/comments?post=175"}],"version-history":[{"count":2,"href":"https:\/\/beethoven.org.pl\/encyklopedia\/en\/wp-json\/wp\/v2\/posts\/175\/revisions"}],"predecessor-version":[{"id":371,"href":"https:\/\/beethoven.org.pl\/encyklopedia\/en\/wp-json\/wp\/v2\/posts\/175\/revisions\/371"}],"wp:attachment":[{"href":"https:\/\/beethoven.org.pl\/encyklopedia\/en\/wp-json\/wp\/v2\/media?parent=175"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/beethoven.org.pl\/encyklopedia\/en\/wp-json\/wp\/v2\/categories?post=175"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/beethoven.org.pl\/encyklopedia\/en\/wp-json\/wp\/v2\/tags?post=175"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}