Manuel de Falla

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For other uses, see Falla (disambiguation).
Manuel de Falla

Manuel de Falla y Matheu (Cádiz, Spain, November 23, 1876 – Alta Gracia, Argentina, November 14, 1946) was a Spanish composer. A representative of musical nationalism, he is one of the most important Spanish composers of the first half of the 20th century, together with Isaac Albéniz, Enrique Granados, Joaquín Turina and Joaquín Rodrigo, and one of the most important Spanish composers of all time.

Biography

Childhood and youth

Manuel de Falla in 1883, dressed as Count Raoul from Les Huguenots by Giacomo Meyerbeer.

Manuel María de los Dolores Clemente Ramón del Sagrado Corazón de Jesús Falla y Matheu[1][lower-alpha 1] was born on November 23, 1876, at six in the morning in the family home at no. 3 Plaza de Mina, in Cádiz (Spain).[1] He was the eldest son of the marriage of José María Falla Franco, a well-to-do merchant of Valencian origin, and María Jesús Matheu Zabala, who came from a wealthy Catalan industrial family, although both were from Cádiz.[1][3] He had four siblings: José María "Pepito" (born 2 years after Manuel), María del Carmen (six years younger), Servando and Germán, the last two being twins and 13 years younger than him.[1][3] He was baptized in the Catholic church of Nuestra Señora del Rosario on November 26.[1][2] The deaths of his maternal grandfather—in 1884—, his aunt Magdalena—during the cholera epidemic of 1885—, and his brothers Pepito—around the same time—and Servando—shortly after his birth in 1889—, affected him enormously. It is said that Manuel contracted tuberculosis in his childhood. All of this, together with his weak constitution, led him to develop an obsession with cleanliness and a fear of becoming infected and falling ill.[1][3]

Manuel and his siblings received a good education at home. He received his first lessons in solfège from his mother, a piano player. In addition, his wet nurse, "La Morilla," taught him lullabies and popular songs that stimulated his imagination and left their mark on him.[4][5][6] When he was nine years old, his mother decided that he had to study more formally, so he continued his musical studies with a piano teacher who was a friend of hers named Eloísa Galluzo, whose teaching methods were "very severe."[7][8] Afterwards, he successively studied solfège and harmony with Alejandro Odero and harmony and counterpoint with Enrique Broca.[9][8][10] He also practiced piano four hands works by Richard Wagner and Wolfgang Amadeus Mozart with a friend of the family.[9] At that time, Manuel attended the evening soirées of chamber music held at the home of Salvador Viniegra, a friend of the family, and had access to the large music library he owned.[7][11] He also attended other musical events in Cádiz, where he discovered music such as Faust by Charles Gounod and works by Mozart, Ludwig van Beethoven, Vincenzo Bellini and Edvard Grieg, who was in fashion.[12][7][13] His first public performance was with his mother in the piano recital of The Seven Last Words of Christ on the Cross by Joseph Haydn in the church of San Francisco.[lower-alpha 2]

Request to the institute from 1891 to change several subjects from "official" to "home" study.[lower-alpha 3]

His school record is kept in the Provincial Historical Archive of Cádiz; it was held among the holdings of the Instituto Columela, where he studied, until it was transferred to the Archive in December 2003. In it, apart from his good grades, his skill in solving an arithmetic operation stands out, as does the excellent handwriting he had despite being only eleven years old.[15]

At the age of twelve, his interests were mainly literature and journalism. In 1888, together with a group of friends, he founded and edited the homemade literary magazine El Burlón and, in 1891, he took part in a second one titled El Cascabel, which he also ended up editing.[14][5] At that time, it is speculated that he composed an opera in four acts called El conde de Villamediana, of which the music has not survived but the libretto has; it was inspired by works of the Duke of Rivas. Around 1892, when he was 16, he composed his opus no. 1, Gavotte et Musette for piano.[14] At the age of seventeen, as Falla himself confessed in a 1928 letter to his biographer and friend Alexis Roland-Manuel, he decided that his vocation was music.[16][17]

Move to Madrid

House in Madrid at no. 72 Calle Serrano, where Falla lived from 1901 to 1907.

From 1896 he began to travel frequently to Madrid, where he attended the Royal Conservatory of Music and Declamation. There he studied piano with José Tragó, who had a very good opinion of his pupil and remarked that he was "a very studious, very conscientious young man; of good artistic talents and for whom a promising future surely awaits in this difficult art."[18][19] Toward the end of that year, he settled permanently in Madrid.[20] In 1897 he officially enrolled as an external student of the Conservatory.[21] That same year he composed Melodía, a work for cello and piano dedicated to Salvador Viniegra.[22] The following year he passed, with high marks, the equivalent of three years of solfège and five of piano at the Conservatory,[23] and composed Scherzo en do menor for piano.[lower-alpha 4] In 1899 he completed his official studies at the Conservatory[lower-alpha 5] and obtained, unanimously, the first prize in piano of that institution.[23] During those years, he made frequent trips to Cádiz and gave recitals in the homes of Viniegra and Manuel Quirell, in which he performed compositions by Frédéric Chopin, Robert Schumann or Grieg, together with his own works.[23] At Viniegra's home, in 1899 he premiered works such as Romanza, Melodía for cello and piano (dedicated to Viniegra), Cuarteto en sol and Serenata andaluza; at Quirell's, he premiered Nocturno, and Mireya at the Teatro Cómico.[22] In 1900 he composed Canción para piano and some vocal and piano pieces. He premiered Serenata andaluza and Vals-Capricho at the Ateneo de Madrid.[25] His family moved in with him, owing to financial problems in the family businesses, and he supported them with the income he earned giving piano lessons.[20][23]

Falla met Felipe Pedrell in 1901 in Madrid. Pedrell was a great influence on Manuel de Falla, since he awakened in him an interest in flamenco and, in particular, in cante jondo.

Up to that point, Falla had only composed works for piano or chamber music. Around 1900, he wrote his first zarzuela, a musical form very much in fashion in Spain at the time, La Juana y la Petra o La casa de Tócame Roque (inspired by the popular Madrid house). It was never premiered and its music was lost, although in his notebooks the composer noted that it consisted of five musical numbers.[26] In 1901 he met Felipe Pedrell, who was a notable influence on his later career, since he awakened in him an interest in flamenco and, in particular, in cante jondo.[27][28] Pedrell taught classes at the Conservatory and the Ateneo. Melquiades Almagro, a wealthy friend of Falla, paid for the lessons he received from Pedrell.[29] That year Falla also composed Cortejo de gnomos and Serenata, both for piano.[30] On April 12, 1902, Los amores de la Inés, the only one of his zarzuelas to be staged, premiered at the Teatro Cómico de Madrid and had twenty performances, given by the company of Loreto Prado and Enrique Chicote.[31] That same year he met Joaquín Turina and Federico Chueca, who helped him and supported his zarzuelas, and the Sociedad de Autores published Vals-Capricho and Serenata andaluza.[30] Between 1901 and 1902, he wrote Limosna de amor, with a libretto by José Jackson Veyán, another zarzuela that was not staged.[32][33]

The following year he composed Allegro de concierto and submitted it to a competition held by the Madrid Conservatory, which was ultimately won by Enrique Granados, and the Sociedad de Autores published the works Tus ojillos negros and Nocturno.[30] That same year, he began working with Amadeo Vives on the zarzuelas Prisionero de guerra, El cornetín de órdenes and La cruz de Malta, of which only a few fragments survive.[34] His years of study in the Spanish capital culminated in the composition, in 1904, of the opera La vida breve, in collaboration with Carlos Fernández Shaw, which won first prize in a competition held by the Royal Academy of Fine Arts of San Fernando the following year.[35] Although the rules of the competition stipulated that the winning work was to be performed at the Teatro Real in Madrid, Falla had to wait eight years to make his score known, not in Madrid but in Nice (France).[36][37] In April 1905 he won the prize as a pianist in a competition organized by the firm Ortiz y Cussó.[38] At that time, he was strongly attracted to his cousin María Prieto Ledesma, and the last reference to this matter is dated November 14, 1905.[39]

Paris period

Claude Debussy helped Falla during his stay in Paris and introduced him into the musical circles of the city.

Falla had widened his circle of friends and his fame was growing in Madrid, thanks to the two prizes he had won. However, partly because of the disappointment he suffered at not being able to premiere La vida breve at the Teatro Real as he had been promised, he decided to move to France.[36] The exact date on which Falla moved there is unknown, but there is a record of a letter he sent to his family on August 16, 1907.[40] He settled in Paris, on the advice of Joaquín Turina and Víctor Mirecki Larramat, and his beginnings were not easy, since he even collected newspaper coupons to obtain free food.[36] He began earning his living as pianist and director of a small pantomime company that performed L'enfant prodigue by André Wormser, and he toured France, Belgium, Germany and Switzerland.[41] Shortly after his arrival in Paris, he met Paul Dukas, who introduced him to Isaac Albéniz and Claude Debussy.[42] Thanks to a letter of recommendation, he also struck up a relationship with Ricardo Viñes, who introduced him into Les Apaches, a circle of young progressive musicians with members such as Debussy, Maurice Ravel, Igor Stravinsky and Joaquín Nin, among others.[43][lower-alpha 6] Also through Viñes and Albéniz, he struck up a relationship with Alexis Roland-Manuel, gained access to other Parisian cultural circles and met other Spanish artists in the city, such as Enrique Granados, Pau Casals, Miguel Llobet, Ángel Barrios, Enrique Fernández Arbós, Josep Maria Sert and Pablo Picasso.[46] During that time, he earned his living giving piano lessons to the children of wealthy families and going on concert tours.[47]

Paul Dukas, whom Manuel de Falla met during his stay in Paris, was a great influence on the composer from Cádiz during his time in the city.

In 1908, and thanks to the mediation of Albéniz, King Alfonso XIII granted him a scholarship so that he could continue living in Paris and complete the Cuatro piezas españolas.[48] In January of that year he began a tour of northern Spain, together with the violinist Antonio Fernández Bordas and the cellist Víctor Mirecki.[49] On March 23 he finished the work Con afectos de júbilo y gozo.[50] Paul Milliet translated the libretto of La vida breve into French so that the premiere of the work would be possible in France.[48] On March 27 of the following year the Cuatro piezas españolas were premiered at the Salle Érard, performed by Ricardo Viñes; they were later published by the publisher Jacques Durand thanks to the recommendation of Dukas, Debussy and Ravel.[51] That same year he began composing a series of pieces called Nocturnos, which later became Noches en los jardines de España, and substantially revised the orchestration of La vida breve.[52] Contact with Parisian musical life had a great influence on him; he was especially impressed by Debussy's Pelléas et Mélisande[lower-alpha 7] and Modest Mussorgsky's Boris Godunov, and he came into contact with avant-garde European symphonic and chamber music; he even heard Richard Strauss conduct his own works.[47][53]

On May 4, 1910, thanks to the collaboration of Ravel and Gabriel Fauré, the soprano Ada Adiny-Milliet premiered at the Société Nationale Indépendante, accompanied at the piano by Falla, the Trois mélodies, set to texts by Théophile Gautier.[54][48] That same year he had his first meeting with Igor Stravinsky and met Georges Jean-Aubry, Ignacio Zuloaga and Wanda Landowska.[47] A year later he made his first visit to London, through Jean-Aubry, and in March he gave some recitals.[55] The winters of 1910 and 1911 seriously affected his health,[lower-alpha 8] which was already weak in itself, which increased his religious fervor and led him to draw closer to circles in tune with his religious concerns, especially the Apaches, with Viñes and Léon Bloy, among others.[57]

In 1912 he made a trip to Switzerland and Italy.[37] In Milan, he negotiated with Tito Ricordi for the publication of La vida breve, but they did not reach an agreement.[58] On November 30, Ricardo Viñes presented Falla's Cuatro piezas españolas at the Sociedad Filarmónica Madrileña.[37] With the help of Dukas and Debussy, he revised the score of La vida breve and made improvements to its structure and orchestration.[59][60] On April 1, 1913, it premiered at the Casino Municipal of Nice[lower-alpha 9] and on December 30 of that year the dress rehearsal, with audience and critics, was held at the Théâtre National de l'Opéra-Comique in Paris.[61] The work officially premiered on January 7, 1914, at that theater and was a success.[60][61] After the failure with Ricordi, Max Eschig published the score and became Falla's publisher.[37] That same year he met, through Turina, Gregorio and María Martínez Sierra.[lower-alpha 10][63] Because of the success he had obtained, Falla decided to settle permanently in Paris.[64] Thanks to his contract with Eschig, in mid-1914 he was able to finish the Siete canciones populares españolas.[65] However, after the outbreak of the First World War, Falla had to return to Spain and once again took up residence in Madrid.[66]

Return to Madrid

Manuel de Falla, c. 1914.

During Falla's stay in Paris, music criticism in Madrid had changed. Numerous specialized publications had emerged and disputes among them were frequent, at times motivated by their political ideology and in many cases fierce.[67] After his return to Madrid, on November 14, 1914, La vida breve was performed, with the soprano Luisa Vela in the leading role, at the Teatro de la Zarzuela under the direction of Pablo Luna.[68][69] The premiere was a great success and it was subsequently performed on 26 occasions.[68] His relationship with the Martínez Sierras, whom he had met during his stay in Paris, grew closer. They began working together on La Pasión, a work that premiered on November 30 at the Teatro Lara and for which the composer wrote a soleá for voice and guitar.[70][62] In the following years, Falla composed incidental music for some of the couple's plays, such as Otelo o tragedia de una noche de verano, Pascua florida or Amanecer, and also wrote music for songs written by María, such as "El pan de Ronda que sabe a verdad."[lower-alpha 11][62] On January 15, 1915, the Ateneo de Madrid paid tribute to Joaquín Turina and Manuel de Falla.[lower-alpha 12] At the event, the Siete canciones populares españolas were premiered with great success, performed by Luisa Vela and accompanied at the piano by Falla himself.[73] On February 8, the presentation concert of the Sociedad Nacional de Música was held at the Hotel Ritz in Madrid, at which the soprano Josefina Revillo performed for the first time the antiwar Oración de las madres que tienen a sus hijos en brazos, with a text by Martínez Sierra.[70][74] Falla met the secretary of the Sociedad, Adolfo Salazar, who was also an influential critic and supported him in his frequent disagreements with the Madrid press.[75]

The Martínez Sierra couple
María and Gregorio Martínez Sierra collaborated with Manuel de Falla on some of his works.

On April 15 the premiere took place at the Teatro Lara of the first version of El amor brujo, which he wrote together with Martínez Sierra, performed by Pastora Imperio in the role of Candelas and under the orchestral direction of José Moreno Ballesteros, father of Federico Moreno Torroba, who played the piano. It received mixed reviews: some criticized the orchestration and urged Falla to leave such "minor essays" and devote himself to "great works," and they reproached him for a lack of "Spanishness" due to Falla's "obsession" with French and Russian music; others, by contrast, hailed it as "the new Spanish musical renaissance" and valued the effort to raise flamenco to the category of art.[76][77] In any case, the work was well received by the public and was performed on twenty-eight occasions.[78] Between late March and early April he made a trip with María Lejárraga through Andalusia, during which he was able to get to know Granada[lower-alpha 13] and they also visited Ronda, Algeciras and Cádiz.[79][80] Shortly afterwards he moved to Barcelona with the Martínez Sierra couple, and his stay in the city lasted almost six months. Santiago Rusiñol invited him to spend a few days at Cau Ferrat in Sitges, and there he may have worked on the first concert version of El amor brujo and on the Noches en los jardines de España.[81] The Madrid Symphony Orchestra, conducted by Enrique Fernández Arbós,[lower-alpha 14] premiered the former on March 28, 1916, at the Hotel Ritz in Madrid.[83] On April 9, the latter premiered at the Teatro Real, performed by the same orchestra, together with the pianist José Cubiles and again conducted by Fernández Arbós.[84] Falla began working with the Martínez Sierra couple on the pantomime El Corregidor y la molinera, based on the novel El sombrero de tres picos by Pedro Antonio de Alarcón.[85] Falla may have chosen this more costumbrista story in order to obtain greater commercial success.[86] It premiered on April 7, 1917, at the Teatro Eslava, produced by the Martínez Sierras' company and under the direction of Turina.[87]

In 1916 Manuel de Falla made contact with Igor Stravinsky and Sergei Diaghilev, whose celebrated Ballets Russes were in Madrid at that time, and began a journey through southern Spain with the latter.

Spain was a neutral country during the First World War. Falla publicly opposed that position and signed a manifesto in 1915, which was supported by other intellectuals such as Gregorio Marañón, Américo Castro and Fernando de los Ríos. After the death of Enrique Granados,[lower-alpha 15][lower-alpha 16] he criticized the German aggression for "snatching from us one of our artists who so brilliantly represented Spain abroad." That same year, he wrote more articles in which he denounced the "pernicious" influence of the "German tradition" on European music.[88] On the other hand, Spain's neutrality revitalized the cultural life of its capital, Madrid, and attracted various international artists, as was the case of Sergei Diaghilev and his Ballets Russes, who toured the country in 1916 and 1917.[90] Falla made contact with Igor Stravinsky and Diaghilev and made two journeys accompanied by the latter and the dancer Léonide Massine: in 1916, through the south of the country,[91] and during the summer of 1917, through Spain, during which on October 8 they went to Fuendetodos for the inauguration of a monument in homage to Francisco de Goya.[92] Before the end of the year, he began a new tour of northern Spain accompanying the soprano Aga Lahowska at the piano.[93]

In 1918, he began composing the comic opera Fuego fatuo, with a libretto by María Martínez Sierra and based on music by Frédéric Chopin, of whom Falla was a great admirer. María attributed the delay in the work to the composer's strict morals, because he disagreed with her libretto, although there is no proof of such reluctance. By contrast, Falla himself made personal approaches to several theaters to premiere the work, which proved fruitless, since several rejected it, such as the Teatro Eslava, temporarily directed by the composer Manuel Penella, which had initially agreed to stage it, or the Opéra-Comique in Paris, whose director, Albert Carré, declared: "You should write original music!" The work was never premiered. Meanwhile, being immersed in the composition of Fuego fatuo, Falla turned down a proposal from Diaghilev to compose a ballet that he finally commissioned from Stravinsky and which became Pulcinella. Falla and the Martínez Sierras began another collaboration with the tragicomedy Don Juan de España. It was at a very early stage of creation and, owing to Falla's slowness in composing it, which María once again blamed on the composer's morals, the Martínez Sierras finally commissioned the music from Conrado del Campo, and the work premiered on November 18, 1921. All of this contributed to the breakdown of the relationship between the couple and the composer after the premiere of the tragicomedy, even though María and Falla had kept up an almost daily correspondence for years.[94][95][96][97] Probably their last work together was Gregorio's El corazón ciego, for which Falla set two songs of the fourth act to music, and which premiered in October or November 1919.[lower-alpha 17] On April 27, Falla delivered a lecture titled El arte profundo de Claude Debussy at a tribute paid by the Ateneo de Madrid to the French composer, and a concert was held in which Aga Lahowska, Arthur Rubinstein and the Philharmonic Orchestra also took part.[100][93]

In 1919 his parents died, a few months apart: on February 12, his father, and on July 22, his mother.[99][93][lower-alpha 18] In 1917, Falla had begun working on a new version of El Corregidor y la molinera, which eventually became the ballet El sombrero de tres picos. The premiere of the work was delayed by financial problems with Diaghilev's Ballets Russes.[101] On July 22, 1919, they gave the premiere of El sombrero de tres picos at the Alhambra Theatre in London, with choreography by Massine[lower-alpha 19] and sets and costumes by Pablo Picasso. It was the company's most successful premiere that season.[102] That same year, on commission from Rubinstein, he began composing Fantasia Bætica.[103]

Granada period

Excursions in Granada attended by Manuel de Falla, Antonio de Luna García and Federico García Lorca, among others.

After the death of his parents, Falla decided to travel to Granada in September 1919 with his sister María del Carmen. They stayed at the Pensión Carmona, thanks to arrangements made by his friend from his Paris days Ángel Barrios, and they were in the company of the Vázquez Díaz couple.[104][99] During that visit to the city he met the poet Federico García Lorca, who recited a poem dedicated to the city after a concert.[104] In 1920, Falla and his sister decided to take up residence in the city and rented a house on the Calle Real de la Alhambra. One of his first activities there was to organize a competition of cantaores of cante jondo.[104] There he led a secluded life, surrounded by a group of friends among whom were Antonio de Luna García and Federico García Lorca.[105]

Manuel de Falla.

On January 4, 1920, the premiere of Noches en los jardines de España took place in Paris, under the direction of Enrique Fernández Arbós and with Rosa García Ascot as soloist, and that same month the Ballets Russes gave a successful performance of El sombrero de tres picos at the Théâtre National de l'Opéra de Paris. On February 8, Arthur Rubinstein premiered the Fantasia Bætica in New York. The composer from Cádiz completed his first work in Granada in August, Homenaje pour le Tombeau de Claude Debussy for guitar. In the middle of the following month he took up residence in that city in the same rooms previously occupied by Daniel Vázquez Díaz at the Pensión Carmona, and later, in midsummer 1921, he moved to the carmen of Santa Engracia at number 40 Calle Real de la Alhambra. In December he published his article "Claude Debussy et l'Espagne" in La Revue musicale.

The premiere of Homenaje pour le Tombeau de Claude Debussy took place on January 24, 1921, in Paris, with the harp-lute performance by Marie-Louise Henri Casadesus. The premiere of its guitar version was given by Miguel Llobet during a tour of Spain a month later. At that time, Falla was closely involved with the cultural life of the Andalusian city and frequented the company of figures such as Miguel Cerón, Fernando de los Ríos, Hermenegildo Lanz, Manuel Ángeles Ortiz and, above all, Federico García Lorca. In May he made a trip to Paris and London, a city in which he played the piano part of Noches en los jardines de España at the Queen's Hall. On his return to Spain he coincided in the capital with Igor Stravinsky, who was conducting his ballet Petrushka at the Teatro Real. For years he had maintained a close personal and professional relationship with the Martínez Sierra couple, which broke down owing to disagreements over the project of a work titled Don Juan de España. After this break, he began composing the two suites from El sombrero de tres picos and finished Fanfare pour une fête, commissioned by the London magazine Fanfare, which would be published in its first issue in August.

Manuel de Falla became one of the hubs of the cultural life of Granada thanks to his friendship with Miguel Cerón, Fernando de los Ríos, Hermenegildo Lanz, Manuel Ángeles Ortiz and, above all, Federico García Lorca (pictured).

At the beginning of 1922 he took up permanent residence in the carmen of the Antequeruela Alta, number 11. The diplomat Ricardo Baeza, a friend of Falla, entrusted him with the commission of composing Canto de los remeros del Volga, on behalf of Russian refugees. He made a trip during Holy Week in Seville, during which he met Segismundo Romero and Eduardo Torres, with whom he would later collaborate to form the Orquesta Bética de Cámara, which would finally be presented on June 11, 1924, with a concert at the Teatro Llorens in Seville. He joined Miguel Cerón, Federico García Lorca, Hermenegildo Lanz and other members of the "tertulia del Rinconcillo" to hold a cante jondo competition in order to rescue the "primitive Andalusian song." The music festival took place on June 13 and 14 in the Plaza de los Aljibes of the Alhambra.[106]

On January 6, 1923, the feast of the Three Kings, in Granada, Falla took part in a private party put on by Federico García Lorca, Adolfo Salazar and the craftsman, puppeteer and versatile artist Hermenegildo Lanz.[107] They staged a Lorca adaptation for cachiporra puppets of the Andalusian tale "La niña que riega la albahaca y el príncipe preguntón," an entremés attributed to Cervantes, and the Misterio de los Reyes Magos, a 13th-century auto sacramental, for which Falla had collaborated in composing the incidental music.[108]

In February, La Revue musicale published two articles by Falla: "Felipe Pedrell, (1841-1922)" and "Wanda Landowska à Grenade," which described the visit of that harpsichordist to Granada in November of the previous year. On March 23 and 24 the public premiere of the concert version of El retablo de maese Pedro took place at the Teatro San Fernando in Seville. The staging of the work took place in Paris, in the mansion of the Princesse Edmond de Polignac on June 25, 1923; the sets and costumes were the work of Manuel Ángeles Ortiz and the puppets, with heads and flat figures, of the etcher and amateur puppeteer Hermenegildo Lanz.

He made several trips to France, Belgium and Italy, and in Madrid he met Ernesto Halffter. He began composing the Concerto para clavecín at the request of Wanda Landowska, and on December 12, Manuel de Falla and Ángel Barrios were proposed as academicians by the Royal Academy of Fine Arts of Granada, and were finally admitted unanimously as full academicians on February 21 of the following year.

At the beginning of 1924 he finished the work Psyché, on a text by Georges Jean-Aubry, which would premiere on February 9 of the following year at the Palau de la Música Catalana in Barcelona. On April 7 he was named honorary academician of the Real Academia Hispano-Americana de Ciencias y Artes of Cádiz. In June of that year the presentation of the Orquesta Bética de Cámara took place, on which he had been working for two years. On December 10 an orchestral revision of Claude Debussy's Prélude à l'après-midi d'un faune that Falla had made for that orchestra was premiered. This performance was conducted by Ernesto Halffter and took place at the Teatro San Fernando in Seville.

The libretto of El retablo de maese Pedro is inspired by an episode of Don Quixote.

The following year he accepted the position of full academician of the Royal Academy of Fine Arts of Granada. On May 22 the Paris premiere of the definitive ballet version of El amor brujo took place at the Trianon Lyrique, with sets and costumes by Gustavo Bacarisas, Falla serving as musical director, and Antonia Mercé "La Argentina" and Vicente Escudero in the roles of Candelas and Carmelo, respectively. On November 20, the Orquesta Bética performed Falla's orchestral revision of the overture to Gioachino Rossini's El barbero de Sevilla at the Teatro San Fernando in Seville, conducted by his disciple Ernesto Halffter.

On December 29 El retablo de maese Pedro was performed in New York, with the Philharmonic Symphony Orchestra, Wanda Landowska, and Willem Mengelberg as conductor. He was named a member of the Hispanic Society of America.

In 1926 he took part in the tribute paid by the Centro Artístico in honor of the caricaturist Luis Bagaría. The performances of El retablo given in Amsterdam on April 26, with Luis Buñuel as stage director and Willem Mengelberg as conductor, and in Zürich on June 20 at the Festival of the National Society for Contemporary Music were a success. He finished the composition of the Concerto for harpsichord and chamber orchestra, which was premiered on November 5 at the Palau de la Música in Barcelona by Wanda Landowska, accompanied by a group of players from the Orquestra Pau Casals and conducted by Falla himself. It is the last major work he managed to finish, and the last one that is still popular. He was honored on the occasion of his fiftieth birthday and received the distinction of adoptive son of the city of Seville on March 20 and favorite son of the city of Cádiz in April.

The tributes continued in 1927, as he was named adoptive son of Guadix on February 28. Earlier, on the 8th and 9th of that same month, two concerts by the Orquesta Bética de Cámara were held at the Coliseo Olympia in Granada, conducted by Ernesto Halffter and Falla himself, respectively. In Barcelona, on March 17, the Festival Falla took place, attended by the composer. The following month, Falla joined in the tribute that the Ateneo de Granada paid to the German composer Ludwig van Beethoven. Falla composed the music for Luis de Góngora's Soneto a Córdoba to commemorate the tercentenary of the writer's death, a work that was premiered on May 14 at the Salle Pleyel in Paris, with Madeleine Greslé and the composer himself at the piano. At that time he began preparing the incidental music for the performance of Pedro Calderón de la Barca's auto sacramental El gran teatro del mundo, which was given in the Plaza de los Aljibes of the Alhambra on June 27 (although it had originally been planned for the 18th, technical problems prevented the performance), organized by the Ateneo de Granada and the Junta de Damas de Honor y Mérito. Also taking part in that performance were Antonio Gallego Burín as artistic director, Hermenegildo Lanz as stage designer and Ángel Barrios as conductor. On November 5 a Festival Falla was held in Madrid, at which the composer himself performed the Concerto. His performances that year ended on December 11 with a tribute to Domenico Scarlatti, fourteen of whose sonatas he played at the Ateneo de Granada.

On January 30, 1928, he took up his position as full academician of the Royal Academy of Fine Arts of Granada. In March he made a trip to Paris to supervise a production of El amor brujo, featuring Antonia Mercé "La Argentina," with sets and costumes made by Gustavo Bacarisas. At the Théâtre National de l'Opéra-Comique a production of El retablo de maese Pedro directed by Ignacio Zuloaga was premiered. On the 14th, he received the decoration of Knight of the Legion of Honour. In September he traveled to Siena, in the company of his friend Juan Gisbert Padró, to perform as soloist in a performance of the Concerto, and on October 29 he was named a member of the Kungliga Svenska Musikaliska Akademien Vágnar of Stockholm. Around that same time he was visited in Granada by Maurice Ravel.

In December 1930, Manuel de Falla made a trip to the Sancti Petri islet while he was working on Atlántida.

At first, and so as not to enter into disputes with Conrado del Campo, who had for years been preparing Falla's election as a member of the Real Academia de San Fernando, he declined the invitation made by members of the latter to fill the seat left vacant by the death of Manuel Manrique de Lara.[citation needed] On May 13, 1929, and following pressure from the academicians, Falla was unanimously elected, although he never got to read his inaugural address. John Brande Trend published the first monograph on Falla in New York, titled Manuel de Falla and Spanish music. At that time he was totally immersed in Atlántida and hoped to be able to premiere the work at the Barcelona International Exposition or at the Ibero-American Exposition in Seville, both held that same year.

At the end of January 1930, he was visited by Alfredo Casella, who was in the city giving some concerts with the Trio Italiano. In June, he recorded the Concerto and some of his songs in Paris, on which he accompanied María Barrientos at the piano. In December he made a trip to Cádiz to conduct a concert at the theater that bears his name. During this stay in his native land he took the opportunity to make an excursion, inspired by his work on Atlántida, to the Sancti Petri islet, the place where the ruins of the temple of Hercules were supposedly located.

In 1931 he made his last visit to London to conduct El retablo de maese Pedro in a BBC broadcast. On May 14, a month after the proclamation of the Second Republic in Spain, he wrote, together with other friends from Granada, to the President of the Republic, Niceto Alcalá Zamora, and to his friend Fernando de los Ríos, Minister of Justice, asking them to take the appropriate measures to stop the burning and looting of churches, as well as the growing process of "de-evangelization" of Spain. That same year he was appointed a member of the newly created Junta Nacional de Música.

In 1937, under pressure from José María Pemán, he wrote a martial hymn for the rebel troops, but strove to minimize the Francoist outlook in his work. Later, Pemán appointed the composer director of the Instituto de España (the leading cultural institution of the time), an appointment he declined on the pretext of his fragile health.[109]

During this period he was piano and composition teacher of Rosa García Ascot, on the recommendation of Felipe Pedrell.[110]

Exile in Argentina and death

Painted portrait in the Crypt of the Cathedral of Cádiz.

On September 28, 1939, shortly after the Spanish Civil War and with the Second World War already under way, Manuel de Falla went into exile in Argentina, despite the efforts of the government of Francisco Franco, which offered him a pension if he returned to Spain, and which in 1940 granted him the rank of Knight Grand Cross of the Order of Alfonso X the Wise.[111] He lived in his Argentine exile thanks to the help of some patrons, among them the Cambó family, and did so quietly in a house in the hills, where his sister looked after him, since he was almost always ill. He finally died on November 14, 1946, after suffering a cardiorespiratory arrest, just two days after one of his favorite collaborators and a great friend, the singer Conxita Badía, who was returning from exile, had said goodbye to him. "It must be destiny," she told him before leaving. "One must not provoke destiny," Falla replied. "I will go on living here or anywhere in America. Goodbye, Conchita. Until we see each other again. And if not, in eternity."[112] With his death, he was unable to complete his last work. The task of finishing it, according to the sketches left by the maestro, fell to his disciple Ernesto Halffter. In this country, in exile, he would premiere his Suite Homenajes.

Embalmed by Pedro Ara Sarriá, a native of Zaragoza,[113] his remains were transported from Buenos Aires to Tenerife aboard the steamship Cabo de Buena Esperanza, where they were transferred aboard the minelayer Marte, which carried him to his native land, Cádiz.[114] In Cádiz they were received by his family, José María Pemán and various ecclesiastical, civil and military authorities, among whom was the Minister of Justice, Raimundo Fernández-Cuesta, representing the head of State, Francisco Franco. The funeral procession went from the dock to the Cathedral of Santa Cruz of Cádiz, where a solemn funeral was held. With the express authorization of Pope Pius XII, the remains were buried in the crypt of the cathedral, where they currently lie alongside those of José María Pemán.[115]

Work

Main article: List of compositions by Manuel de Falla

Musical analysis and style

File:CELLO ENCORES JOHN MICHEL-da Falla Suite Populaire Espagnole 1st.ogg File:CELLO ENCORES JOHN MICHEL-da Falla Suite Populaire Espagnole 5th.ogg File:Violinist CARRIE REHKOPF-DA FALLA DANSE ESPAGNOLE.ogg During his stay in Paris he composed his most celebrated works: the pantomime El amor brujo, the ballet El sombrero de tres picos (composed to fulfill a commission from the celebrated Ballets Russes of Sergei Diaghilev), the Siete canciones populares españolas for voice and piano, the Fantasia Bætica for piano and Noches en los jardines de España, premiered at the Teatro Real in 1916. His style evolved through these compositions from the folkloric nationalism revealed in these early scores, inspired by Andalusian or Castilian themes, melodies, rhythms and turns of phrase, to a nationalism that sought its inspiration in the musical tradition of the Spanish Golden Age, to which belong the opera for marionettes El retablo de maese Pedro, one of his most praised works, and the Concerto for harpsichord and five instruments.[116] Falla's creative maturity began with his return to Spain, in 1914.

In the works El retablo de maese Pedro and the 1926 concerto for harpsichord and chamber orchestra one perceives how the influence of folk music is less visible than a sort of neoclassicism in the style of Igor Stravinsky.[117] Whereas in his earlier works Falla displayed an extensive palette of sound, inherited directly from the French school, in these last compositions his style became more austere and concise, especially in the Concerto. Manuel de Falla spent the last twenty years of his life working on what he considered was to be the work of his life: the scenic cantata Atlántida, on a poem by the Catalan-language poet Jacinto Verdaguer, which had obsessed him since his childhood and in which he saw reflected all his philosophical, religious and humanistic concerns.[116] When he died with the work unfinished, his disciple Ernesto Halffter took charge of completing it.

Legacy

Falla and the Generation of '27

Of his relationship with the writers of the Generation of '27, Federico Sopeña wrote:

We owe to this generation the shaking off of the stigma of deafness inherited from Spanish intellectuals. It must not be forgotten that Juan Ramón Jiménez, despite his bouts of bitter humor, remained faithful to Falla's work. Each of the members of this generation received praise and sarcasm from Juan Ramón, but there is no doubt that his love for music, and for Falla in particular, had a decisive influence.
Each of the leading members of this generation lived music in his own way, but intensely. Cernuda, without being a musician, is the one who wrote about music with the greatest depth: let us recall from the previous chapter his providential encounter with Falla's piano. In Gerardo Diego's correspondence with Falla, affection and deference can be noticed, without forgetting that it was Gerardo who was the first to play the Fantasia Bætica after Rubinstein abandoned it. Of Lorca, of his innate musicality inseparable from his human charm, we have already spoken. Rafael Alberti, on receiving the National Prize for Literature, the first thing he did was to buy Barbieri's Cancionero. Salazar belongs fully to that generation, since, as we shall see later, Falla's only disciple, Ernesto Halffter, owes to Salazar his first and enthusiastic proclamation. This influence on literature contrasts with the absence of true disciples in the musical sphere. For Falla always refused to see himself as a teacher of composition. On the other hand, as we shall see, Falla had been preoccupied with Atlántida since a year earlier and, nevertheless, he entered the heart of that generation by composing his "Soneto a Córdoba" on Góngora's poem, and it is precisely Góngora who serves as the bond uniting them all.[118]

100-peseta banknote, in homage to Manuel de Falla.

As a tribute to his artistic work, the Bank of Spain decided to use a portrait of Manuel de Falla on the obverse of the 100-peseta banknotes, which were issued from November 17, 1970 (although they were put into circulation in 1973). This banknote was the most widely circulated during the 1970s until, owing to inflation, the decision was taken in 1982 to mint 100-peseta coins. The 100-peseta banknote bearing the effigy of Manuel de Falla then began to be withdrawn by the banks, although it remained legal tender until the introduction of the euro. In Argentina, the Conservatorio Superior de Música of the city of Buenos Aires bears his name.[119]

See also

Notes and references

Notes
  1. ↑ In 1891, at the age of 15, he signed with the preposition "de" in his first surname.[2]
  2. ↑ Nancy Lee Harper states that Manuel de Falla's first public performance took place when he was nine years old,[12] while Carol Hess indicates that he was eleven.[14]
  3. ↑ In this document, at the age of 15, he signed with the preposition "de" in his first surname.[2]
  4. ↑ According to Nancy Lee Harper, it is dated November 9, 1898, and only a fragment of that work survives.[24]
  5. ↑ He completed the seven-year course of study in two.[21]
  6. ↑ Other members were the composers Charles Koechlin, Florent Schmitt, Maurice Delage and Paul Ladmirault, the poets Léon-Paul Fargue and Tristan Klingsor, the painter Paul Sordes and the critic Michel-Dimitri Calvocoressi.[43][43][44][45]
  7. ↑ He was so impressed by that opera that he attended its performances three times.[47][53]
  8. ↑ In his correspondence, Falla himself stated that his health worsened because of the abundant rain and the humidity. It has even been speculated that he may have suffered from syphilis, but no evidence of this has been found.[56]
  9. ↑ Previously, there had been failed attempts to premiere the work in Madrid, Paris, Brussels, London and Milan.[61][60]
  10. ↑ María Lejárraga, contrary to the Spanish tradition of using one's maiden name, used and was known by her husband's surname, Martínez Sierra.[62]
  11. ↑ It is difficult to distinguish the artistic output of the Martínez Sierra couple, since on many occasions María signed works with her husband's name and many others they wrote in collaboration.[62] It seems clear, from the documentation existing in the Archivo Manuel de Falla, that in reality María wrote most of the works signed with Gregorio's name.[71]
  12. ↑ Before Turina and Falla left for Paris, both had already had a relationship with the Ateneo and had established personal dealings with Cecilio Roda, director of the Music Section. In Falla's case, he had presented several works there. Apart from their artistic merits, the tribute had other connotations. From its beginnings, the Ateneo was linked to liberalism, a link that grew stronger with the First World War. Manuel Azaña, secretary of the Ateneo from 1913 to 1919 and a "committed Allied sympathizer," organized debates and gave speeches against Germany and its supporters in Spain. The tribute to two composers returning from Paris as victims of the German intervention was very much in keeping with the Ateneo's point of view regarding the War.[72]
  13. ↑ Manuel de Falla set his opera La vida breve in the city of Granada, but he had never visited it. He based it on postcards that some friends had sent him.[75]
  14. ↑ Nancy Lee Harper states that the premiere of the concert version of El amor brujo at the Hotel Ritz was given by the Madrid Symphony Orchestra under the direction of Enrique Fernández Arbós, contrary to what other authors state, namely that the work was performed by the Philharmonic Orchestra, conducted by Bartolomé Pérez Casas.[82]
  15. ↑ Enrique Granados died in the English Channel while traveling on a ferry bound for the United Kingdom that was torpedoed by a U-boat of the Imperial German Navy.[88]
  16. ↑ Granados's death may have affected Falla's health, and Luis Campodónico (cited by Federico Sopeña) even speculated in his biography of the composer that he was admitted to a sanatorium in 1916. However, there is no evidence of this.[89]
  17. ↑ Carol Hess notes that the premiere was in San Sebastián on October 16, 1919,[98] while Nancy Lee Harper indicates that it was in November of that year.[99]
  18. ↑ Falla was in London for the premiere of El sombrero de tres picos when he received the news that his mother was seriously ill. He traveled urgently to Madrid and when he arrived he was informed that she had died on July 22, the same day as the premiere of the ballet.[99]
  19. ↑ In 1916, Massine had been specifically studying traditional Spanish dances to prepare this choreography.[87]
References
  1. ↑ 1.0 1.1 1.2 1.3 1.4 1.5 Harper 1998, p. 13.
  2. ↑ 2.0 2.1 2.2 Saborido 2014, p. 10.
  3. ↑ 3.0 3.1 3.2 Hess 2005, p. 10.
  4. ↑ Harper 2005, pp. 5–6.
  5. ↑ 5.0 5.1 Harper 1998, p. 14.
  6. ↑ "Infancia y juventud". manueldefalla.com (in español). Retrieved November 27, 2020.
  7. ↑ 7.0 7.1 7.2 Hess 2005, p. 11.
  8. ↑ 8.0 8.1 Harper 2005, p. 7.
  9. ↑ 9.0 9.1 Hess 2005, p. 12.
  10. ↑ "Cádiz (1876-1897)". manueldefalla.com (in español). Retrieved November 27, 2020.
  11. ↑ Harper 2005, p. 8.
  12. ↑ 12.0 12.1 Harper 1998, p. 15.
  13. ↑ Harper 2005, pp. 7–8.
  14. ↑ 14.0 14.1 14.2 Hess 2005, p. 13.
  15. ↑ Saborido 2014, pp. 10–15.
  16. ↑ Hess 2005, pp. 13–15.
  17. ↑ Harper 1998, pp. 15–16.
  18. ↑ Hess 2005, p. 15.
  19. ↑ Harper 2005, p. 20.
  20. ↑ 20.0 20.1 Hess 2005, p. 17.
  21. ↑ 21.0 21.1 Harper 2005, pp. 20–21.
  22. ↑ 22.0 22.1 Harper 2005, p. xxxiv.
  23. ↑ 23.0 23.1 23.2 23.3 Harper 2005, p. 21.
  24. ↑ Harper 2005, pp. 335–336.
  25. ↑ Hess 2005, pp. 23–24.
  26. ↑ Harper 2005, pp. 24–25.
  27. ↑ Gamboa, José Manuel (Winter 1993). "Felipe Pedrell, las voces del pueblo" (PDF). La Caña. Revista de Flamenco (in español) (4). Asociación Cultural España Abierta: 52–54. Retrieved November 27, 2020.
  28. ↑ Christoforidis, Michael (Winter 1993). "Manuel de Falla y la guitarra flamenca" (PDF). La Caña. Revista de Flamenco (in español) (4). Asociación Cultural España Abierta: 40–44. Retrieved November 27, 2020.
  29. ↑ Harper 2005, p. 28.
  30. ↑ 30.0 30.1 30.2 Harper 2005, p. xxxv.
  31. ↑ Harper 2005, pp. 25–26.
  32. ↑ Hess 2005, p. 30.
  33. ↑ Harper 2005, p. 26.
  34. ↑ Harper 2005, p. 27.
  35. ↑ Harper 2005, p. 33.
  36. ↑ 36.0 36.1 36.2 Harper 2005, p. 40.
  37. ↑ 37.0 37.1 37.2 37.3 Harper 2005, p. xxxvii.
  38. ↑ Harper 2005, pp. 33–34.
  39. ↑ Harper 2005, p. 34.
  40. ↑ Harper 1998, p. 19.
  41. ↑ Harper 2005, pp. 41–42.
  42. ↑ Harper 2005, p. 42.
  43. ↑ 43.0 43.1 43.2 Harper 2005, p. 43.
  44. ↑ Nichols, Roger (2011). Ravel. Yale University Press. p. 43. ISBN 9780300108828.
  45. ↑ Pasler, Jann (1982). "Stravinsky and the Apaches". The Musical Times. 123 (1672): 403–407. doi:10.2307/964115. JSTOR 964115.
  46. ↑ Harper 2005, pp. 43–44.
  47. ↑ 47.0 47.1 47.2 47.3 Harper 2005, p. 44.
  48. ↑ 48.0 48.1 48.2 Harper 2005, p. xxxvi.
  49. ↑ Harper 2005, p. 45.
  50. ↑ Harper 2005, pp. 45–46.
  51. ↑ Harper 2005, p. 46.
  52. ↑ Harper 2005, pp. 47–48.
  53. ↑ 53.0 53.1 Hess 2005, p. 53.
  54. ↑ Harper 2005, p. 47.
  55. ↑ Harper 2005, p. 49.
  56. ↑ Harper 2005, pp. 49–50.
  57. ↑ Harper 2005, p. 50.
  58. ↑ Harper 2005, p. 48.
  59. ↑ Harper 2005, pp. 52–54.
  60. ↑ 60.0 60.1 60.2 Harper 1998, p. 23.
  61. ↑ 61.0 61.1 61.2 Harper 2005, p. 52.
  62. ↑ 62.0 62.1 62.2 62.3 Hess 2005, pp. 74–77.
  63. ↑ Harper 2005, pp. 52–53.
  64. ↑ Harper 2005, p. 53.
  65. ↑ Hess 2005, p. 64.
  66. ↑ Harper 2005, pp. 48, 53–54.
  67. ↑ Hess 2001, pp. 45–49.
  68. ↑ 68.0 68.1 Harper 2005, p. 58.
  69. ↑ Hess 2001, p. 49.
  70. ↑ 70.0 70.1 Harper 2005, p. 60.
  71. ↑ Harper 2005, p. 83.
  72. ↑ Hess 2001, pp. 49–51.
  73. ↑ Harper 1998, p. 24.
  74. ↑ Hess 2001, p. 51.
  75. ↑ 75.0 75.1 Hess 2005, p. 77.
  76. ↑ Harper 2005, pp. 61–62.
  77. ↑ Hess 2005, pp. 86–87.
  78. ↑ Hess 2005, p. 87.
  79. ↑ Harper 2005, p. 61.
  80. ↑ Hess 2005, pp. 77–80.
  81. ↑ Harper 2005, p. 65.
  82. ↑ Harper 1998, p. 26.
  83. ↑ Harper 2005, p. 87.
  84. ↑ Harper 2005, p. 64.
  85. ↑ Harper 2005, p. 66.
  86. ↑ Hess 2001, p. 87.
  87. ↑ 87.0 87.1 Harper 2005, p. 67.
  88. ↑ 88.0 88.1 Hess 2005, p. 99.
  89. ↑ Harper 2005, p. 74.
  90. ↑ Hess 2001, pp. 45–46.
  91. ↑ Harper 2005, p. xxxviii.
  92. ↑ Harper 2005, pp. xxxviii–xxxix.
  93. ↑ 93.0 93.1 93.2 Harper 2005, p. xxxix.
  94. ↑ Hess 2005, pp. 124–126.
  95. ↑ Harper 2005, pp. 81–93.
  96. ↑ Hess 2001, p. 182.
  97. ↑ Franco, Enrique (June 23, 1976). "Estreno de una obra inédita de Manuel de Falla". El País (in español). Retrieved April 28, 2013.
  98. ↑ Hess 2001, p. 302.
  99. ↑ 99.0 99.1 99.2 99.3 Harper 2005, p. 75.
  100. ↑ Harper 2005, pp. 74–75.
  101. ↑ Harper 2005, pp. 67–68.
  102. ↑ Harper 2005, p. 68.
  103. ↑ Harper 2005, pp. 75–81.
  104. ↑ 104.0 104.1 104.2 Hess 2005, p. 127.
  105. ↑ Maurer, Christopher. "Biografía. Una vida en breve". Fundación Federico García Lorca (in español). Archived from the original on September 3, 2011.
  106. ↑ Gibson, Ian (1998). Vida, pasión y muerte de Federico García Lorca (1898-1936) (in español). Barcenona, Plaza y Janés. pp. 175–187. ISBN 84-01-55007-6.
  107. ↑ Nommick, Yvan (January 2, 2007). "Día de Reyes en casa de los Lorca" (PDF). La opinión de Granada (in español). Retrieved October 8, 2014.
  108. ↑ Cited in: Soria Ortega, Andrés (1986). "Una fiesta íntima de arte moderno en la Granada de los años veinte". In Soria Olmedo, Andrés (ed.). Lecciones sobre Federico García Lorca (in español). Granada. pp. 149–178, 160-161 y 168-169.{{cite book}}: CS1 maint: location missing publisher (link)
  109. ↑ Arroyo, Javier (May 30, 2017). "El empeño de Pemán por hacer franquista a Falla". El País (in español). Retrieved May 30, 2017.
  110. ↑ Unamuno, P. (March 8, 2016). "Rosa García Ascot, en el día mundial de la mujer desdeñada por la historia". El Mundo (in español). Retrieved November 27, 2020.
  111. ↑ "DECRETOS de 13 de julio de 1940 por los que son nombrados Caballeros, Gran Cruz de la Orden de Alfonso X el Sabio, los señores que se indican" (PDF). Boletín Oficial del Estado (in español) (200). July 18, 1940.
  112. ↑ Alavedra, Joan (1975). Conxita Badia, una vida d'artista (in català). Editorial Portic. ISBN 978-8473061438.
  113. ↑ Lovay 2013, p. 29.
  114. ↑ Hess 2005, p. 276.
  115. ↑ Viniegra y Lasso de la Vega, Juan J. (1966). Manuel de Falla. Su vida íntima (in español). ISBN 84-95388-38-3.
  116. ↑ 116.0 116.1 Biografías y Vidas. "Manuel de Falla" (in español). Retrieved July 15, 2004.
  117. ↑ Hakim, Katia Sofía (2018). "El influjo de la obra de Igor Stravinki en el proceso de composición de "El retablo de Maese Pedro" de Manuel de Falla (1923)". Musicología en el siglo XXI: nuevos retos, nuevos enfoques (in español). Sociedad Española de Musicología (SEDEM): 1829–1848. ISBN 978-84-86878-45-0. Retrieved June 16, 2020.{{cite journal}}: CS1 maint: periodical has ISBN (link)
  118. ↑ Sopeña, Federico (1988). "XVIII". Vida y obra de Falla (in español). TURNER. p. 143. ISBN 84-7506-247-4.
  119. ↑ "El Conservatorio". Conservatorio Superior de Música Manuel de Falla (in español). Archived from the original on October 18, 2016. Retrieved October 16, 2016.

Bibliography

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