El amor brujo (versión 1915)


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El amor brujo (versión 1915)
Manuel de Falla

Orquesta Joven de Andalucía
Conductor: Juan Udaeta

EL AMOR BRUJO (versión 1915)

Cuadro primero

1- Introducción y escena 2'42"

2- Canción del amor dolido 1'22"

3- Sortilegio 1'01"

4- Danza del fin del día 4'20"

5- Escena (El amor vulgar) 1'08"

6- Romance del pescador 2'32"

7- Intermezzo 1'09"

Cuadro segundo

8- Introducción (El fuego fatuo) 3'43"

9- Escena (El terror) 2'25"

10- Danza del fuego fatuo 1'55"

11- Interludio (Alucinaciones) 1'41"

12- Canción del fuego fatuo 2'29"

13- Conjuro para reconquistar el amor perdido 3'12"

14- Escena (El amor popular) 1'03"

15- Danza y canción de la bruja fingida 3'58"

16- Final (Las campanas del amanecer) 1'38"



17- En el Generalife 10'43"

18- Danza lejana 5'15"

19- En los jardines de la sierra de Córdoba 9'05"


Tiempo Total: 62'03"




"Gitanería en un acto y dos cuadros"

Texto de Gregorio Martínez Sierra y María Lejárraga

Candelas: Esperanza Fernández

Gitana vieja: Carmen Mendoza

Gitanilla: Pilar Domínguez

Gitano: José Antonio Camacho Vargas "Piripi"



Miguel Angel Rodríguez Laiz, piano

Orquesta Joven de Andalucía

dirigida por Juan Udaeta


Grabación realizada en el Palacio de Congresos y Exposiciones

(Casa Colón) de Huelva (Septiembre 1995).

Recorded at Palacio de Congresos y Exposiciones

(Casa Colón), Huelva, in September 1995.



It is very likely that the fussy and demanding don Manuel would feel satisfied today seeing what his fellow countrymen from the Young Orchestra of Andalucia are able to do with the two works which make up this CD. Both of them are categorized as belonging to the "andalucist" period in the career of this internationally known composer from Cadiz. The creator of one of the most exclusive and singular music corpus of his time. The discreet Falla, who in 1923, from his refuge in Granada, promotes and organizes the Orquesta Bética de Cámara in Seville - he and his friend Segismundo Romero had to work miracles to overcome a thousand adversities - he could never have imagined that fifty years after his death in 1946 - in the far away Argentine exile -an enthusiastic orchestra of students was going to relive in his homeland, El amor brujo (Bewitched Love) and Noches en los jardines de España (Nights in the Gardens of Spain) with the praiseworthy quality of this recording.

Andalucia was not only the birthplace and temporary residence of Manuel de Falla, it was, above all, what determined his way of being and feeling which appears in his "Andalusian" compositions within this CD. It is also apparent in the so called "Castilian period" which includes melodies and tones extracted from very old and well-known themes, collected by an adventurous Falla from many locations in the vast Andalusian countryside. In this sense, it is worth mentioning that, even in a piece with apparently little Andalusian feeling such as Concerto para clave y cinco instrumentos, it is possible to distinguish certain melodies which can be heard during Holy Week in Sevilla, they actually are - as hinted by Jaime Pahissa in his peculiar biography of Falla - old pieces from the "Capillas Musicales” which still today precede the floats of the most solemn brotherhoods in the Sevillian Holy Week. Even when in this same work Falla evokes Juan de la Encina, he connects to a rhythmical and harmonious Andalusian tradition which had its starting point in the polyphonysts of the splendorous Sevillian Renaissance. Today, the Orquesta Bética de Cámara having disappeared (at least as it was originally formed); at a time when Andalucia is full of all kind of miscellaneous orchestras with musicians from remote countries; at a time when musical conservatories, as always, live up to their name, this CD of Falla, played by a resident Andalusian student orchestra, is the most stimulating sign that there are hopes for a better future for the music scene of this rich southern land, which has suffered the uprooting of many great Andalusian symbols: Falla, Picasso, Seneca, Juan Ramon, Machado, Lorca, Alberti ... "I'll come back when al! Spaniards reach an agreement". Falla is said to have said some time. Though, as Jose Bergamin points out, he never really "left his 'nights of the gardens of Spain".


In 1914, the same year the First World War started and after seven fruitfiil years in Paris, Manuel de Falla returns to Spain. He settles in Madrid with his family. He is 38 years of age and has already written among other works, La vida breve (Madrid, 1905) and the piano compositions Cuatro piezas españolas (Paris, 1908). Falla easily adapts to Madrid and premieres La vida breve (Teatro de la Zarzuela) and Siete canciones populares (Ateneo) in what was at the time the lively capital of Spain. Both Madrid premieres take place in 1915, the year in which, together with Joaquín Turina and the playwright Gregorio Martínez Sierra, don Manuel embarks on a trip around the picturesque "Spanish Morocco" including Ceuta, Melilla and Tetuan.

It is in this joyous atmosphere of his reunion with his homeland that El amor brujo is produced. It was originally called "Gitanería en un acto y dos cuadros", based on texts by Maria Lejárraga, the intelligent wife who did a lot of ghost writing for her husband Gregorio Martínez Sierra (even this text was attributed to him). The story by Maria Lejárraga de Martínez Sierra is very simple - a love triangle. The female protagonist is a gipsy named "Candelas" who is courted by Carmelo. The sinister shadow of Candelas's late lover comes between them. His ghost appears whenever any other man tries to take Candelas's heart. Finally, the lovers can get rid of such an awkward presence with the assistance of another young gipsy woman - Carmela -, who is asked by the couple to exorcise the ghost.

The origin of El amor brujo lies in a commission by the flamenco dancer Pastora Imperio who wanted to perform "a song and a dance" in a flamenco show. This project soon became the "Gitanería", the original version of which is included in this recording. Falla gets excited with this commission and becomes completely immersed in it.