Manuel de Falla
Falla, Manuel de
FALLA, MANUEL DE
Foremost 20th-century Andalusian composer; b. Cádiz, Nov. 23, 1876; d. Alta Gracia (Córdoba province), Argentina, Nov. 14, 1946. He studied piano first with his mother, then in 1897 began his training with José Tragó (piano) and Felipe Pedrell (composition)—the leaders of the Spanish national music renewal. His opera La Vida Breve won first prize in a national competition in 1905. From 1907 to the outbreak of World War I he lived in Paris, accompanying, teaching piano, and learning from his Impressionist friends, debussy, Ravel, and Dukas. Once more in Spain, Falla found his stride, turning out a succession of masterful works, such as the ballets El Amor Brujo (containing the popular "Ritual Fire Dance") and El Sombrero de Tres Picos ("The Three-Cornered Hat"); the symphonic "impressions" Noches en los jardines de España ("Nights in the Gardens of Spain"); a puppet opera based on Cervantes, El Retablo de Maese Pedro; a concerto for harpsichord and chamber orchestra; and a suite, Pedrelliana, in tribute to his old master. After joining his sister in Argentina in 1939, he concentrated on his miracle-play setting of Jacinto Verdaguer's mystical epic of the birth of America, L'Atlántida, unfinished at his death. After services in Córdoba cathedral, his body was interred in the Cádiz cathedral crypt by permission of Pius XII. He was a man of self-effacing austerity and a deep spirituality that issued not so much in church music as in the evocation of the Spanish mystique by means of a pure, abstract, lucidly structured style.
Bibliography: m. de falla, Escritos sobre música y músicos, ed. f. sopeÑa (Buenos Aires 1950). j. b. trend, Manuel de Falla and the Spanish Music (New York 1934). j. pahissa, Manuel de Falla (London 1954). r. arÍzaga, Manuel de Falla (Buenos Aires 1961). h. wirth, Die Musik in Geschichte und Gegenwart, ed. f. blume (Kassel-Basel 1949–) 3:1747–57. v. salas viu, "The Mystery of Manuel de Falla's La Atlántida, " Inter-American Music Bulletin 33 (Jan. 1963) 1–6. s. demarquez, Manuel de Falla (Paris 1963). a. budwig, "The Evolution of Manuel de Falla's The Three-Cornered Hat, (1916–20)," Journal of Musicological Research 5 (1984) 191–212. m. christoforidis, "El peso de la vanguardia en el proceso creativo del Concerto de Manuel de Falla," Revista de Musicología 20 (1997) 669–682. n. h. lee, Manuel de Falla: A Bio-Bibliography (Westport, Conn. 1998). c. a. hess, "Manuel de Falla's The Three-Cornered Hat and the Right-Wing Press in Pre-Civil War Spain," Journal of Musicological Research 15 (1995) 55–84. g. moshell, "El Retablo de Maese Pedro [Master Peter's Puppet Show ]," in International Dictionary of Opera, ed. c. s. larue, 2 v. (Detroit 1993) 1099–1100. y. nommick, "Un ejemplo de ambigüedad formal: El Allegro del Concerto de Manuel de Falla," Revista de Musicología 21 (1998) 11–35; "Forma y transformación de las ideas temáticas en las obras instrumentales de Manuel de Falla: Elementos de apreciación," Revista de Musicología 21 (1998) 573–591. c. urcheuguÍa schÖlzel, "Aspectos compositivos en las Siete Canciones populares Españolas de Manuel de Falla (1914/15)," Anuario Musical 51 (1996) 177–201.
Falla, Manuel de
Manuel de Falla
Manuel de Falla
The Spanish composer Manuel de Falla (1876-1946) infused his compositions with the distinctive idioms of native folk song and dance to create music on nationalistic lines.
Manuel de Falla was born on Nov. 23, 1876, in Cadiz into a family that had a lively interest in music. His mother gave him piano lessons, and from local musicians he had instruction in harmony, counterpoint, and solfeggio. At the age of 20 he enrolled in the Madrid Conservatory and earned the school's highest awards in piano. More important to him, though, since he did not want to be a concert pianist, was his composition study with Felipe Pedrell. Working with that ardent nationalist for 3 years, Falla entered deeply into the study of his country's folk music and made his goal the development of an expressive mode of composition rooted in Spanish culture.
In Siete canciones populares españoles (1914) Falla took folk songs whole and put them in simple but imaginative settings; generally, however, he freely used only certain aspects of folk originals to give a Spanish quality to his compositions. Examples occur in his first important work, the two-act opera La vida breve (1905), which calls up memories of Giacomo Puccini and Richard Wagner but makes its best effects from the employment of two varieties of folk music native to Andalusia: lively flamenco dance rhythms and melodic patterns of the passionate, sometimes melancholic, type of song known as the cante hondo. These two elements also served Falla in his work through 1919, which includes music written in France as well as at home.
Living in Paris from 1907 to 1914, Falla came under the influence of Claude Debussy, whose impressionistic techniques are plainly audible in Quatres pièces espagnoles (1908) for piano and Noches en los jardines de España (1916) for piano and orchestra. The image of Spain shines through, though, in their thematic material and in Falla's evocation of guitar qualities in his treatment of both piano and orchestra. The same may be said of the music that closed what is commonly called his Andalusian period: El amor brujo (1915), a ballet containing the well-known "Ritual Fire Dance;" El sombrero de tres picos (1919), another ballet; and his single large piece for solo piano, Fantasía bética (1919).
The balance of Falla's production is less locally centered, less picturesque, but no less Spanish in impulse. Its high spots are a delightful puppet opera, El retablo de Maese Pedro (1923), based on a scene from Cervantes' Don Quixote, and a rather severe-sounding concerto in neoclassic vein for harpsichord and chamber orchestra (1926). His last work, an enormous cantata entitled La Atlántida, which occupied him from 1928 until his death, was left unfinished.
Falla died on Nov. 14, 1946, in Argentina, where he had moved in 1939 after deciding that he could no longer adapt himself to the Franco regime. Long before then he had been accepted as the foremost creative musician of his time in Spain. Present-day criticism is less favorable, viewing his music as expressively strong but limited in range and technical originality.
Falla's life and place in the panorama of Spanish music are most fully discussed in J. B. Trend, Manuel de Falla and Spanish Music (1929), and Gilbert Chase, The Music of Spain (1941; 2d ed. 1959). Joseph Machlis, Introduction to Contemporary Music (1961), gives a generally sympathetic view of Falla in the light of 20th-century musical composition.
Demarquez, Suzanne, Manuel de Falla, New York: Da Capo Press, 1983, 1968.
Pahissa, Jaime, Manuel de Falla, his life and works, Westport, Conn.: Hyperion Press, 1979. □
Falla, Manuel de
Manuel de Falla (mänwĕl´ dā fä´lyä), 1876–1946, Spanish composer; pupil of Felipe Pedrell. In Paris from 1907 to 1914, he met Debussy, Dukas, and Ravel, and was to some extent influenced by their impressionism. His music, however, remained distinctively Spanish, rooted both in Andalusian folk music and the classical tradition of Spain. Falla was an authority on flamenco music and made use of it in his compositions, keeping the vitality of flamenco but imposing upon it rigorous musical structure. Notable among his compositions are an opera, La vida breve [life is short] (1913); a suite for piano and orchestra, Noches en los jardines de España [nights in the gardens of Spain] (1916); and the celebrated ballets El Amor Brujo [wedded by witchcraft] (1915) and El sombrero de tres picos [the three-cornered hat] (1917). From 1921 to 1939 Falla lived in Granada, organizing festivals of native folk songs and touring Europe to conduct his own works. He moved to Argentina in 1939, where he directed the first performance of his guitar solo, Homenaje (1920); later orchestrated as Homenajes. His ambitious choral work La Atlántida occupied his later years; it was finished after his death by Ernesto Halffter and presented in Madrid in 1961.
See G. Chase, The Music of Spain (1960) and S. Demarquez, Manuel de Falla (tr. 1968).