Bolero and Other Spanish Favourites The music of Spain retains its exotic attraction, with its individual blend of regional and national elements,...
Bolero and Other
Spanish Favourites
The music of Spain retains its exotic attraction, with its individual
blend of regional and national elements, influenced by the colourful traditions
of the country and of its former colonies. It was in the nineteenth century,
with the growth of nationalism, politically and culturally, that Spanish
musical identity became established internationally as something apart from the
main European cultural traditions of which Spain had for centuries formed
apart.
It was natural that something of this fascination with things Spanish
should make an early appearance in neighbouring France. The French composer
Emmanuel Chabrier had spent the early part of his career as a civil servant,
resigning his position only in 1880 in order to devote himself to music.
Chabrier lacked the thorough training of the Conservatoire, but had been able
to study music with some assiduity as a private pupil of a number of teachers
of distinction, while mixing socially with a circle of well known musicians,
painters and writers. In 1881 Charles Lamoureux made him chorus director and
organizing secretary for the new concerts that he was promoting in Paris, his
first professional musical employment. It was a journey to Spain in 1882 that
aroused Chabrier's interest in the music of that country. Returning to Paris,
he composed a fantasia for piano, based on the melodies he had collected, and
played it through to Lamoureux, who encouraged him to orchestrate it. The
result was the orchestral rhapsody Espana, first performed under
Lamoureux on 6th November 1883. Chabrier won immediate fame, although his
continuing operatic ambitions never brought him the success that he wanted. Espana,
a vivid evocation of Spain, uses the contrasting elements of the jota and
the malaguena in a colourfully orchestrated work.
Manuel de Falla, born in Cadiz in 1876, was the leading Spanish composer
of his generation, writing music that captured the essence of all that was
Spanish, while proving acceptable internationally. His ballet The
Three-Cornered Hat, originally a pantomime under the title El corregidor
y la molinera (The Magistrate and the Miller's Wife), is based on a story
by Pedro Antonio de Alarcon. The plot concerns the jealousy of the miller,
whose attractive wife has been subjected to the attentions of the elderly
Corregidor. The ballet was first staged in London in 1919 by Dyagilev's Ballets
russes, with decor by Picasso and choreography by Leonid Massin. The excerpts
included here start with the Fandango for the miller's wife, followed by
a Segnidillas for the neighbours, a Farruca for the miller and a
final Jota.
Manuel de Falla's opera La vida breve ('Short Life') was
completed in 1905, before the composer left Spain for Paris, and was first
staged in Nice in 1913, a year before de Falla's return to Spain. Its plot
concerns the betrayal of the gypsy girl Salud by her lover Paco, who marries a
girl of richer background. Salud, appearing with a companion to dance for Paco
and Carmela's wedding-guests, falls down dead, as she moves forward to accuse
Paco. An Interlude marks night-fall, leading to the well known Spanish
Dance of the wedding-guests, familiar from arrangement after arrangement.
El amor brujo ('Love the Magician'), staged in Madrid in 1915, made
full use of the traditions Spanish gypsy music. It tells the story of a gypsy
girl Candelas, haunted by the spirit of her dead lover, which she summons up in
her ritual fire dance, in the original version the Dance of the End of the
Day.
A dominant figure in French opera towards the end of the nineteenth
century, Jules Massenet based his opera Le Cid on the play on the
subject of the Spanish hero by Corneille. The opera was first staged at the
Paris Opera in 1885. The Spanish dances on which much of the present reputation
of Massenet's opera depends come in the first scene of the second act, a
contrast to the tragic events that have taken place. At the heart of the drama
is the conflict in the heart of Chimene, whose lover Don Rodrigue, El Cid, has
killed her father. Massenet offers, in his ballet scene, a series of
characteristic dances.
Composers in the newly developed Russian nationalist tradition also had
recourse, as Glinka had done, to the exotic, whether to bordering countries, to
the ethnic minorities of the Russian Empire or to remoter Spain. Rimsky-Korsakov's
famous Capriccio espagnol began as a Fantasia on Spanish Themes, for
violin and orchestra, and was eventually completed in its present form in 1887.
The work won immediate acclaim, above all for the brilliance of its
orchestration, an achievement from which the composer drew great satisfaction.
The French composer Maurice Ravel was the son of a Swiss father and of a
mother from the Basque country. He was familiar from childhood with Spanish
culture and language and had occasion to make use of this element in his
background in a number of compositions. Bolero, which he himself
described as an orchestrated crescendo, was written for Ida Rubinstein, whose
ballet troupe staged it in 1928, with choreography by Nijinska. Its two
thematic elements are linked by the continuing percussion rhythm that gives the
work its hypnotic fascination.