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Federico García Lorca (1889-1936) is widely regarded as the greatest Spanish poet of the twentieth century; Manuel de Falla (1876-1946) is Spain’s most performed composer of the same period. The two were very different – Lorca was gay, liberal, and a member of the avant garde , while Falla was a devout Catholic – yet they had a profound mutual influence. The two developed an intimate friendship, which ended when Lorca was shot by Nationalist forces at the beginning of the Spanish Civil War. Lorca in Tune with Falla is the first book to trace Lorca’s impact on Falla’s music, and Falla’s influence on Lorca’s writings. Nelson R. Orringer explores the music underlying Poem of Deep Song , Gypsy Ballads , and Lament for Ignacio Sánchez Mejías , bringing out the analogous sounds and ideas that emerge in the active, ongoing connection between the artworks of both creators. The book emphasizes how this harmony increases knowledge and appreciation of both artists.

Este artículo expone algunos aspectos destacados de la trayectoria vital y la producción del compositor ruso Arthur Lourié, desde el papel que desempeñó como director del Departamento de Música del Narkomprós en la Rusia revolucionaria hasta sus sucesivos exilios en Francia, donde fue un personaje destacado de la emigración rusa en París durante las décadas de 1920 y 1930, y finalmente en Estados Unidos. Se examinan diversas referencias al compositor en la prensa histórica y la investigación musicológica españolas. Tras analizar varias críticas musicales de Adolfo Salazar publicadas en El Sol y la gira del pianista Alexander Borovski organizada por la Asociación de Cultura Musical en febrero y marzo de 1924, se aportan los primeros datos sobre la interpretación de la música de Lourié en España. Asimismo, se revisa la naturaleza de sus vínculos con Ígor Stravinski y, por último, a partir de diversos documentos y testimonios, se exploran sus relaciones con algunos protagonistas de la música y la intelectualidad españolas de la época, como Manuel de Falla, José Bergamín y Andrés Segovia. This article presents highlights from the life and work of the Russian composer Arthur Lourié, beginning with his role as director of the Narkomprós Music Department in revolutionary Russia, and continuing with his successive exiles in France, where he was a prominent figure in the Parisian Russian émigré community of the 1920s and 1930s, and the United States. The research considers references to the composer in the historical Spanish press and in musicological scholarship. Analysis of several critical reviews published by Adolfo Salazar in El Sol as well as of the tour of pianist Alexander Borowsky during February and March 1924, which was organized by the Asociación de Cultura Musical, yields the earliest data about the performance of Lourié's music in Spain. Likewise, the nature of Lourie’s links with Igor Stravinsky and his relationships with some of the leading figures in Spanish music and intellectuals of the time, such as Manuel de Falla, José Bergamin, and Andres Segovia, are explored by means of documents and testimonies.

No other work represents Spanish ness in the international context like Manuel de Falla’s El amor brujo. The score underwent a series of adaptations from the original gitanería (1915) to the suite for concert version (1916) and finally the ballet (1925), acclaimed all over the world. The composer himself transcribed some of the more characteristic musical numbers for piano, like the »Ritual fire dance«, which was played and recorded by Arthur Rubinstein on several occasions. Although Falla is labelled as a nationalist composer, the première of El Amor Brujo aroused sensitivities regarding how Spanish it sounded, first in Madrid, Valencia and Barcelona and later when it was premiered in other countries. Not only did the modern conception of the work puzzle the audiences, but also the peculiar use of popular material and the colourful character of the instrumentation. Thus it was described as nationalist, frenchified, popularist or espagnolade all at once. Prva verzija djela El Amor Brujo bila je praizvedena 15. travnja 1915. kao jednočinka s dvije scene, gitanería s glazbom Manuela de Falle, tekstovnim predloškom što ga je sastavila María Lejárraga, producirao Gregorio Martínez Sierra i scenografijom što ju je napravio Néstor Martín Fernández de la Torre. To je trebao biti oproštajni nastup pjevačice i plesačice Pastore Imperio. Umjetnički kontekst je bio Madrid na početku 20. stoljeća, kamo se de Falla vratio iz Pariza pršteći novim idejama. No našao se u krajnje teškoj financijskoj situaciji i suočen s género chico (malim žanrom) koji je osiromašio i dramatski i glazbeno. Ali umjesto da napiše glazbu koja će se uteći tipičnim klišeiziranim temama i populističkim tradicijama, de Falla je skladao punokrvnu kazališnu partituru čije je harmonijsko bogatstvo bilo vrlo daleko od tada suvremenih varijetetskih priredbi. Nakon trideset izvedbi u Teatru Lara u Madridu, ova gitanería bila je 1915. izvedena još i u Valenciji, Barceloni i Buenos Airesu. Koncertne verzije bile su izvedene u Lisabonu (1915.), Londonu (1921.), Nantesu (1922.), Philadelphiji (1922.) i Parizu (1923.). Potom je bila aranžirana kao orkestralna suita i balet, a te su ve rzije postigle još veći međunarodni uspjeh. Tijekom 1915. nacionalni i međunarodni tisak donio je cijelu paletu mišljenja o El Amor Brujo, koja je proizvela jednu od najvećih kontroverzi o španjolskoj glazbi u ranom 20. stoljeću. U španjolskim prikazima kritičari su hvalili naprednu prirodu glazbe i otklon od konvencija espagnolade ili franciziranja španjolskih tema. Međunarodni tisak je s druge strane hvalio autentičnost El Amor Brujo kao istinskog španjolskog djela potpuno oslobođenog od klišea. U ovom se članku nastoji razjasniti stvaralački kontekst ovog djela i primalaštvo gitaneríje (1915.) i orkestralne suite (1916.-23.) kao slike o španjolskoj glazbi što se mijenja ovisno o publici.

Manuel de Falla´s Cruel Love subtitled Gypsy story in two parts is a ballet with cante jondo whose premiere was given, in a first chamber version, in Madrid´s Lara Theatre in April of 1915. With only two characters on stage, the attractive gypsy Candelas and her boyfriend Carmelo who are haunted by the ghost of her previous lover, we encounter an original anti-romantic version of the relationship between love and death struggling for the liberation of the soul through that of the body, through flamenco dance and cante jondo. This work was written after a seven-year stay (1907-14) in the Paris of La Belle Époque and contributes to the renewal of nationalism in music as it has the special interest of questioning the social frontiers between “classical music” and “popular music”. The result is a both complex and popular piece in which are found synthesized such different influences as those of Felipe Pedrell, Claude Debussy and Igor Stravinski. El amor brujo subtitulado “Gitanería en dos cuadros” de Manuel de Falla es un ballet con cante jondo que se estrenó en su primera versión de cámara en el Teatro Lara de Madrid en abril de 1915. Con solo dos personajes, el de la atractiva gitana Candelas y su novio Carmelo en torno a los cuales ronda el fantasma del antiguo amante de Candelas nos encontramos con una original versión anti-romántica de la relación entre amor y muerte que lucha por la liberación del alma a través de la liberación del cuerpo, a través del baile flamenco y el cante jondo. Esa partitura se escribe a la vuelta de una estancia de siete años (1907-14) en el París de La Belle Époque y contribuye a la corriente renovadora de la música nacionalista que tiene el particular interés de cuestionar las fronteras sociales entre la música “culta” y la música “popular”. Una obra tan compleja como popular en que se suman y sintetizan influencias tan diversas como las de Felipe Pedrell, Claude Debussy e Igor Stravinski.

In this paper I analyse selected articles by the composer and academician Vlastimir Trajkovic (1947-2017), published in various collective monographs and journals over the period of nearly three decades (1982-2008). These writings emphasise Trajkovic?s constant urging for a fairer (from his point of view) evaluation of Serbian art music in a wider, European and global context, but also within the state/national frameworks. Trajkovic aimed to prove that Serbian art music, as well as writings on music, would have enjoyed a wider recognition, had certain of their top achievements not been left forgotten and unpublished, and thus unavailable to potential researchers and performers. That is why he pleaded for the improvement of sheet music publishing in the country, as well as for the targeted promotion of Serbian art music repertoire. Moreover, he insisted on the proximity of the Belgrade ?cultural climate? in the interwar period with the artistic and scholarly tendencies in France and its ?zones of influence? in the same period. Consequently, Trajkovic particularly insists on the new evaluation of the opuses of the composers and musicologists Miloje Milojevic (1884-1946) and Dragutin Gostuski (1923-1998) - whom he saw as those creative and intellectual individuals who had fallen victims to the ?historical injustice? and whose (re)positioning within the Serbian music culture would increase the relevance of that same culture both in the national and international contexts.

Manuel de Falla abandonó España al terminar la Guerra Civil y se instaló en Argentina hasta el fin de sus días, lo que ha inducido a algunos autores a considerar este viaje como su exilio político. Pero nada más lejos de la personalidad del compositor que manifestar su descontento de manera tan rotunda. Con documentación de su archivo personal, este trabajo analiza el entorno político en el que Falla se desenvolvió, la forma en que la política colisionó con sus profundas convicciones religiosas y con el trágico destino de sus más queridos amigos, en qué medida su viaje a Argentina estuvo motivado más por la precaria economía del compositor que por la situación política del país, así como las diferentes formas mediante las que el Franquismo le trató de utilizar y las sutiles y aparentemente contradictorias maneras que éste utilizó para su resistencia.

New York’s Rockefeller Center is one of most symbolically rich places in the world, although few of its millions of visitors stop to reflect on what its images of power really mean. In the form of an Atlantean mythological allegory, Rockefeller Center was conceived as symbolic propaganda for capitalist, liberal values implicit in both the ‘American Dream’ and the ideology espoused by the Rockefeller family. It embodies the utopia of progress and science that promotes the freedom of the individual and the free movement of capital. Due to ideological clashes –or the vagaries of fate– the Catalan José María Sert was the artist to ultimately complete the most eloquent mural in the main building, a mural which had formerly been painted by Diego de Rivera, and entitled Man at the Crossroads. Sert was a muralist who had previously worked on the scenographic illustration of Manuel de Falla’s Atlántida, capturing some of the motifs that inspired that great cantata based on poetic texts by Jacint Verdaguer. That earlier work is reflected in the lobby of Rockefeller Center’s main building. While Diego de Rivera’s censored frescoes have been studied prolifically, little attention has been paid to Sert’s paradoxical reading of the same subjects. In this article, we analyse the history of the Atlantean Mediterranean literary myth in relation to Spain, the use John D. Rockefeller Jr. made of them in his emblematic urbanistic ensemble, and also the peculiar reading that the Catalan muralist made of these themes of Atlantis in relation to capitalism.

Manuel de Falla was a Spanish musician of the XIXth and XXth centuries who had international recognition likely due to his musical fusion talent. His knowledge about Spanish musical traditions gave to his early compositions a new and fresh intellectual interpretation for the typical Spanish folk music. However, in the middle of his musical career, he suffered a strange disease of his eyes named recurrent acute iridocyclitis. This eye flushing is caused by an inflammation of 2 structures of the anterior pole of the ocular globe, the iris, and the ciliary body. It is usually a symptom of another disease and it causes many psychological impairments and disabilities (severe eye pain in bright light, blurry vision, headache, stress for organization (orderliness), and depression in some cases). This soreness of his eyes had an effect over Falla’s compositions and marked an inflection point in his line of musical creations. Eyes in music have been so relevant in another composers and musicians throughout history.

In this study, I examine a hitherto completely unknown subject: the Hungarian reception of Manuel de Falla's ballet pantomime, El sombrero de tres picos (The three-cornered hat). As I point out, the story of the piece began well before Falla composed his music: Alarcón's novel was published in a Hungarian translation just two decades after the Spanish original. In the first decades of the twentieth century, the Budapest Opera House (Magyar Állami Operaház) and Municipal Theatre (Városi Színház) developed intensive opera, theatre, and ballet seasons, in association with the main European capitals during the first decades of the twentieth century. De Falla's ballet was premiered in Budapest in 1927 by Diaghilev's Russian Ballet, in the Municipal Theatre under the Hungarian title A háromszögletű kalap. The piece had such success that it had to be repeated three times. What is more, a Hungarian production was premiered in the Budapest Opera House one year later and this production continued until 1963, delivering a total of 75 performances. The sources (among others the handwritten performing scores) of this latter production preserved in the National Széchényi Library and in the Archives of the Hungarian State Opera House reveal an intense work of choreographic adaptation, along with careful design of staging, costumes, lightning, and scenery effects, all accomplished by great international personalities to make this very Spanish ballet understandable to the Magyar audience. Falla's work also found a significant support in the press, highlighting both the plot's universality and the expressiveness of his music, which had made it a Hungarian success.