The late 19th and early 20th centuries have been called the golden age of Spanish piano music — a rebirth of fervent nationalism that ushered in a true keyboard renaissance. Brought to national awareness by the four most important composers of their generation — Isaac Albéniz, Enrique Granados, Manuel de Falla, and Joaquin Turina — this new wave of music explored everything Spanish: the magnetic rhythms of Spanish dance, the dark lyricism of Spanish song, the Iberian countryside, the landscape, and the sights and sounds of everyday life. Albéniz sketched picturesque vistas of Spanish scenes and landscapes in works called "Malagueña," "Asturias," and "Córdoba." In Goyescas, Granados transformed Francisco Goya's artwork into a world of voluptuous sound, confessing that "I fell in love with Goya's palette . . . with his lady maja." Falla painted the Spanish landscape in "Aragonesa" and "Andaluza" and brought new life to Spanish dance theater with his ballet El amor brujo — featuring the world-famous "Ritual fire dance" — and with the brilliant farrucas, fandangos, and seguidillas of his ballet El sombrero de tres picos. And Turina added new luster to Spanish nationalism with music steeped in the cante hondo ("deep song") of his native Andalusia. Dover's outstanding new collection brings together 24 works by these Spanish masters, introduced by Antonio Soler's hypnotic: "Fandango," considered one of the most celebrated keyboard works of the 18th century. The technical range of the pieces in this exceptional volume makes this collection of special interest to a broad range of pianists, intermediate to advanced.

Spanish Piano Music: 24 Works by de Falla, Albéniz, Granados, Soler and Turina (Dover Classical Piano Music)

Arts & Photography

Davis, Francis A.

Falla, Manuel De

Music

Dover Publications

In 1917 a Madrid stage theater hosted a mime version of the folk tale El Corregidor y la molinera (The Governor and the Miller's Wife) with music by Spanish composer Manuel de Falla (1876–1946). The production attracted the attention of the famous impresario Sergei Diaghilev, who persuaded Falla to rework and rescore the music for a ballet. In that form, with sets by Picasso, it was first performed in London in 1919 as The Three-Cornered Hat (El sombrero de tres picos) and enjoyed an immediate success.Based on a story by Pedro Antonio de Alarcón, the work is full of wit and vitality, enhanced with the flavor of Andalusian folk music that permeates Falla's music of the period. Grove's Dictionary of Music and Musicians praised this captivating ballet as "the most humorous of Falla's works," and its initial popularity has remained undiminished. A staple of the ballet and orchestral repertoires, the complete score of The Three-Cornered Hat is now available in this attractive, high-quality edition, reproduced from an authoritative 1921 English score.

The Three-Cornered Hat: In Full Score

Dover `

Although influenced by the impressionism of Debussy, Dukas, and Ravel, Manuel de Falla (1876–1946) remained distinctively Spanish, with roots that drew upon both Andalusian folk music and his country's classical traditions. With these two popular ballets, El Amor Brujo (Love, the Magician) and El Sombrero de Tres Picos (The Three-Cornered Hat), he brought the world's attention to the music of Spain. In El Amor Brujo, a gypsy lass is haunted by the ghost of a former swain until her new lover devises a plan to entice the spirit away. Each of the ballet's scenes evokes a different mood that is seamlessly woven into a brilliant musical tapestry. El Sombrero de Tres Picos recounts an elderly man's comic and frustrating attempts to seduce a miller's wife. Its premiere — produced by Diaghilev for the Ballets Russe, with choreography by Massine and designs by Picasso — met with an instant and lasting success. Falla himself made these arrangements of the complete ballets for piano solo. Several of the individual pieces have become standards in the solo piano repertoire, including "The Neighbour's Dance" and the great favorite, "Ritual Fire Dance."

El Amor Brujo and El Sombrero de Tres Picos for Solo Piano (Dover Music for Piano)

Based on a story by Pedro Antonio de Alarcón, this witty musical frolic recounts a magistrate's attempts to seduce a miller's wife. First performed in 1919, this staple of both the ballet and orchestral repertoires is enhanced with the flavor of Andalusian folk melodies, a characteristic common to Manuel de Falla's music of the period. This affordable miniature score is reproduced from an authoritative 1921 English edition, complete with bar-numbered movements for easy reference. Affordable, durable, and portable, this volume is ideal for study in the classroom, at home, or in the concert hall.

The Three-Cornered Hat in Full Score (Dover Miniature Scores: Orchestral)

On Music And Musicians

Marion Boyars Publishers Ltd

Excerpt from El Amor Brujo: Gitanería en un Acto y Dos Cuadros, Escrita Expresamente para Pastora ImperioLos comisionados y representantes de la Sociedad de Autores Españoles son los encargados exclusivamente de conceder ó negar el permiso de representación y del cobro de los derechos de propiedad.About the PublisherForgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.comThis book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

El Amor Brujo: Gitanería en un Acto y Dos Cuadros, Escrita Expresamente para Pastora Imperio (Classic Reprint)

Literature & Fiction

Dramas & Plays

Forgotten Books

Though originally composed as a patomime-ballet for chamber orchestra entitled El corregidor y la molinera during the years of the first world war, Falla received a commission from Sergey Diaghilev, who attended the 1917 premiere, to re-work the piece into a full two act ballet for the Ballets Russes. The enlarged version, scored for a full orchestra, received its premiere in London's Alhambra Theatre on July 22, 1919 to considerable acclaim with sets by Picasso and choreography by Massine. The orchestra was conducted by Ernest Ansermet. Though moderately successful as a ballet, Falla's brilliantly orchestrated score entered the symphonic repertoire immediately. Especially popular were the two suites. The first, whose formal title is "Scenes and Dances from Part One" is offered here in convenient study score format in a newly engraved and researched edition prepared by Clinton F. Nieweg and Julia L. McAlister which was first issued by E.F. Kalmus in 2014 in large score and parts.

The Three-Cornered Hat, Scenes and Dances from Part 1: Study score

Serenissima Music, Incorporated

Escritos sobre música y músicos

Humor & Entertainment

Austral

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