M. De Falla’s work is strongly influenced by Spanish folk music in which the guitar is central. Although he composed only one piece for that instrument his inspiration was flamenco and early Spanish music, including the guitar works of Gaspar Sanz. The guitar also features in Falla’s first great success, the opera ‚La Vida Breve’. For this recording, we have selected and transcribed works in which the influence of the guitar was dominant thus translating these pieces back to their original source of inspiration. We felt that adding percussion would enhance the rhythmic element that is most characteristic for the music of Spain. We hope that showing De Falla’s work in this dynamic light will bring new audiences to his brilliant music. Widely regarded as the most distinguished Spanish composer of the early twentieth century Manuel de Falla was born in 1876 in Cádiz . After initial piano lessons he moved to Madrid to study composition with Felipe Pedrell. His first breakthrough came in 1905 with his opera La vida breve. Between 1907 and 1914 he lived in Paris and came under the influence of impressionist composers such as Debussy, Dukas and Ravel. Armed with the idioms of impressionism, Falla moved back to Madrid (1914) and composed works such as El Amor Brujo or El sombrero de tres picos, which are strongly influenced by the flamenco music of Andalusia. In the 1920s, Falla altered his stylistic direction, coming under the influence of Stravinsky’s Neo-Classicism. In 1939 he moved to Argentina where he spent his final years working on his cantata Atlántida. He died in 1946.The Spanish Dance is taken from the wedding scene of the opera La Vida Breve (Life Is Short). De Fallas first major work (and a winner of a compositions prize in Madrid) is a sort of Spanish cavalleria rusticana. It was composed in 1905 but not premiered until 1913. The first version of El amor brujo (Love, the Magician) a „gitanera” or gypsy ballet in one act, was written and premiered in Madrid in 1915. It is a love story about a gypsy girl Candela, who can only be freed from the evil spirit of her murdered past husband through the kiss of perfect and true love. Siete canciones populares espanoles („Seven Spanish Folksongs” 1914) and Tus ojillos negros “Your small black eyes” (1902-1903) were originally written for voice and piano.
the program is quite standard – but the arrangements aren’t! In addition to the two guitars played by Peter and Zoltán Katona, and the mezzo-soprano (in the songs and the vocal numbers of El amor brujo), there is a lot of diverse percussion. (…) (…) In the vocal numbers, Juanita Lascarro does a very good job. She does not descend to the depths of the throat like an authentic flamenco cantaora, but also does not have the superficial opulence of some opera-house singers. Her voice has a natural beauty and roundness. (…) (…) I can say without reservation that in the Seven Popular Songs the arrangers’ approach bears wonderful unique fruit. In the main this is due to the beautiful singing of Juanita Lascarro, her voice strong and velvety, like a clarinet. The accompaniment is well-planned and well-measured. The percussion never dominate, yet they add illuminating detail. The entire construction is open and colourful: an Eiffel Tower of music! (…) The two guitars are like two additional singers - a perfect close for the album. The sound of the guitars is orotund and resonant, well articulated yet not dry, without any extraneous noises, powerful when required and delicate when needed. (…) (…) This disc offers a very interesting and indeed unique alternative view. The songs are first class, with some great singing and sensitive playing. I am very happy that discs like this continue to appear – giving new perspectives on ‘old’ music. This cannot be called a crossover: it’s just a fresh approach. With efforts like this, classical music will never fossilize.
Dat moet de luidsprekers uitspatten, en dat doet het ook! De musici laten nieuw licht schijnen op de meest Spaanse klassieke muziek die er is. Je moet wel open staan voor iets nieuws: daar zorgen ook de speciale ritmische effecten voor van het slagwerk en de sopraan. Zeker genieten bij een glas Jerez of Rioja.
Musicianship beyond dispute. (…) This is a zippy collection of works by de Falla arranged for the dynamic guitar duo, with percussion and the soprano voice of Juanita Lascarra for good measure. (…) (…) The musicians have an extraordinary singularity of musical vision and effortlessness of technique (…) (…) Channel’s SACD sound is absolutely glorious, even on a standard CD player.
een cd om de (muzikale!) vingers bij af te likken. (…) (…) beide musici zijn niet alleen grootmeesters op de gitaar maar ze zijn bovendien ook nog zo intens muzikaal dat iedere noot onder hun handen bij wijze van spreken in puur goud verandert. En alsof dat nog niet genoeg is vonden ze in de uit Palma de Mallorca afkomstige David Garcia Mir dé slagwerker die niet alleen even fantasierijk maar net zo intens muzikaal op deze sacd zijn exotische bijdragen levert. Met dan als werkelijke klap op de vuurpijl de Colombiaanse sopraan Juanita Lascarro die in haar helaas spaarzame bijdragen zo Spaans klinkt als eigenlijk alleen een Spaanse dat zo kan (zoals in Danza del Juego de Amor en Asturiana!). Spaans, jawel, met nét dat flinterdun aangezette rubato, of nét even die versnelling die de spanning laat oplopen. (…) (…) een geweldig musicerend kwartet op dat de De Falla's intense en veelkleurige folklore optimaal tot zijn recht laat komen (…) (…) Muziek die zo vol is van leven is en blijft een bron om steeds weer naar terug te keren. De opname is subliem, met de instrumenten en de stem heel mooi en goed geproportioneerd in de ruimte geplaatst. Dit is zo'n opname van een klein ensemble die de suggestie wekt dat het zó, met de ogen dicht, in de huiskamer lijkt te staan. En wie mocht denken dat dit alleen voor de surround-modus geldt komt bedrogen uit. Kortom een meesterzet, deze uitgave.
They are extremely courageous to perform this transcription for guitars, percussion and soprano of the spectacular soprano-with-orchestra original of Falla’s Love, the Magician. They do make one additional step toward realization of the very demanding music, by using electric guitars and Roland guitar synths on this work. (…) (…) The crystalline surround reproduction also adds to the impact of this brilliant music.
La production est superbe, comme c’est souvent le cas chez Channel Classics (...) Les trois extraits du “Three cornered hat” sont extrêmement communicatifs et entraînants. (...) Un excellent disque.
De geheel aan de muziek van Manual de Falla gewijde cd krijgt een extra dimensie door de toevoeging van percussie en door sopraan Juanita Pescarro die oa de Siete Canciones mooi zingt. Ook het duo zelf bewandelt paden die de puristen waarschijnlijk doen gruwen. In oa ‘En la Cueva’ uit el Amor Brujo gieren de elektrische gitaren als was het een cd van het herrezen Pink Floyd. Het werkt. Erg goed zelfs!