Abstract
El amor brujo was composed much more quickly and with greater facility than any other work by Manuel de Falla: 34 minutes of music written in around three months. This article studies the unique case of this gitanería in Falla’s output, and places it as the product of a composer working for the first time in a professional environment. Four contexts of this professionalism are considered: the specific circumstances in which the work was conceived; the application of a specialised and pragmatic compositional process; Falla’s attainment of full mastery of his compositional technique; and the ways in which Falla responded to various external limitations —and even overcame them. The article seeks to demonstrate that these circumstances of composition contributed to the fluidity and greatness of the work.
| Translated title of the contribution | Composed at full speed: El amor brujo as the debut of a professional composer |
|---|---|
| Original language | Spanish |
| Title of host publication | El amor brujo, metáfora de la modernidad |
| Subtitle of host publication | Estudios en torno a Manuel de Falla y la música española del siglo XX |
| Editors | Elena Torres Clemente, Francisco J. Giménez Rodríguez, Cristina Aguilar Hernández, Dácil González Mesa |
| Place of Publication | Madrid |
| Publisher | Centro de Documentación de Música y Danza-INAEM |
| Pages | 55-71 |
| Number of pages | 17 |
| ISBN (Print) | 9788490412855 |
| Publication status | Published - Dec 2018 |
Keywords
- Manuel de Falla
- El amor brujo
- professionalism
- compositional method
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Christopher Collins
- School of Language, Literature, Music & Visual Culture, Music - Chair in Music
Person: Academic