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Cien años de “El amor brujo” (1915-2015). Manuel de Falla, entre lo culto y lo popular
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Journal Article
Cien años de “El amor brujo” (1915-2015). Manuel de Falla, entre lo culto y lo popular
2016
Overview
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.
