Falla / Fernandez / Perspectives Ensemble- Amor Brujo (1915)
Manuel de Falla is renowned as the greatest Spanish composer of the early 20th century, melding diverse stylistic, folk or literary influences into distinctive new musical languages and forging masterworks that have become cultural emblems of his homeland. This synthesis can be found in the original 1915 version of El amor brujo, a heartfelt representation of a young Roma woman's dramatic quest to free herself of the ghost of her lover. The mini-opera El retablo de Maese Pedro pays homage to Cervantes' beloved Don Quixote using instrumentations and rhythms that conjure both Spain's Golden Age and the vibrant energy of new European music in the 1920s. Perspectives Ensemble was founded at Columbia University in 1993 by Sato Moughalian to explore and contextualize works of composers and visual artists in performances, recordings and writings. Under Moughalian's artistic direction the group has received the highest critical accolades including praise from The New York Times. The ensemble serves as artist-in-residence for the Foundation for Iberian Music and the Graduate Center, The City University of New York.
Tracklist:
- El Amor Brujo, Scene I (1915 Version): No. 1, Introducción Y Escena
- El Amor Brujo, Scene I (1915 Version): No. 2, Canción Del Amor Dolido
- El Amor Brujo, Scene I (1915 Version): No. 3, Sortilegio
- El Amor Brujo, Scene I (1915 Version): No. 4, Danza Del Fin Del Día
- El Amor Brujo, Scene I (1915 Version): No. 5, Escena [El Amor Vulgar]
- El Amor Brujo, Scene I (1915 Version): No. 6, Romance Del Pescador
- El Amor Brujo, Scene I (1915 Version): No. 7, Intermedio [Pantomima In Ballet]
- El Amor Brujo, Scene II (1915 Version): No. 8, Introducción [El Fuego Fatuo]
- El Amor Brujo, Scene II (1915 Version): No. 9, Escena [El Terror]
- El Amor Brujo, Scene II (1915 Version): No. 10, Danza Del Fuego Fatuo
- El Amor Brujo, Scene II (1915 Version): No. 11, Interludio [Alucinaciones]
- El Amor Brujo, Scene II (1915 Version): No. 12, Canción Del Fuego Fatuo
- El Amor Brujo, Scene II (1915 Version): No. 13, Conjuro Para Reconquistar El Amor Perdido
- El Amor Brujo, Scene II (1915 Version): No. 14, Escena [El Amor Popular]
- El Amor Brujo, Scene II (1915 Version): No. 15, Danza Y Canción De La Bruja Fingida
- El Amor Brujo, Scene II (1915 Version): No. 16, Final [Las Campanas De Amanecer]
- El Retablo De Maese Pedro: Vengan, Vengan A Ver Vuesas Mercedes
- El Retablo De Maese Pedro: Siéntense Todos
- El Retablo De Maese Pedro: Ahora Verán Vuesas Mercedes Cómo El Emperador Carlo Magno
- El Retablo De Maese Pedro: Ahora Veréis La Torre Del Alcázar De Zaragoza
- El Retablo De Maese Pedro: Miren Luego Vuesas Mercedes Cómo Llevan Al Moro A La Plaza De La Ciudad
- El Retablo De Maese Pedro: Miren Ahora A Don Gayferos
- El Retablo De Maese Pedro: Ahora Veréis A La Hermosa Melisendra
- El Retablo De Maese Pedro: Vais En Paz, Oh Par Sin Par De Verdaderos Amantes
- El Retablo De Maese Pedro: Miren Cuánta Y Cuán Lucida Caballería Sale De La Ciudad
- El Retablo De Maese Pedro: Non Fuyades, Cobardes, Malandrines Y Viles Criaturas
Manuel de Falla is renowned as the greatest Spanish composer of the early 20th century, melding diverse stylistic, folk or literary influences into distinctive new musical languages and forging masterworks that have become cultural emblems of his homeland. This synthesis can be found in the original 1915 version of El amor brujo, a heartfelt representation of a young Roma woman's dramatic quest to free herself of the ghost of her lover. The mini-opera El retablo de Maese Pedro pays homage to Cervantes' beloved Don Quixote using instrumentations and rhythms that conjure both Spain's Golden Age and the vibrant energy of new European music in the 1920s. Perspectives Ensemble was founded at Columbia University in 1993 by Sato Moughalian to explore and contextualize works of composers and visual artists in performances, recordings and writings. Under Moughalian's artistic direction the group has received the highest critical accolades including praise from The New York Times. The ensemble serves as artist-in-residence for the Foundation for Iberian Music and the Graduate Center, The City University of New York.
Tracklist:
- El Amor Brujo, Scene I (1915 Version): No. 1, Introducción Y Escena
- El Amor Brujo, Scene I (1915 Version): No. 2, Canción Del Amor Dolido
- El Amor Brujo, Scene I (1915 Version): No. 3, Sortilegio
- El Amor Brujo, Scene I (1915 Version): No. 4, Danza Del Fin Del Día
- El Amor Brujo, Scene I (1915 Version): No. 5, Escena [El Amor Vulgar]
- El Amor Brujo, Scene I (1915 Version): No. 6, Romance Del Pescador
- El Amor Brujo, Scene I (1915 Version): No. 7, Intermedio [Pantomima In Ballet]
- El Amor Brujo, Scene II (1915 Version): No. 8, Introducción [El Fuego Fatuo]
- El Amor Brujo, Scene II (1915 Version): No. 9, Escena [El Terror]
- El Amor Brujo, Scene II (1915 Version): No. 10, Danza Del Fuego Fatuo
- El Amor Brujo, Scene II (1915 Version): No. 11, Interludio [Alucinaciones]
- El Amor Brujo, Scene II (1915 Version): No. 12, Canción Del Fuego Fatuo
- El Amor Brujo, Scene II (1915 Version): No. 13, Conjuro Para Reconquistar El Amor Perdido
- El Amor Brujo, Scene II (1915 Version): No. 14, Escena [El Amor Popular]
- El Amor Brujo, Scene II (1915 Version): No. 15, Danza Y Canción De La Bruja Fingida
- El Amor Brujo, Scene II (1915 Version): No. 16, Final [Las Campanas De Amanecer]
- El Retablo De Maese Pedro: Vengan, Vengan A Ver Vuesas Mercedes
- El Retablo De Maese Pedro: Siéntense Todos
- El Retablo De Maese Pedro: Ahora Verán Vuesas Mercedes Cómo El Emperador Carlo Magno
- El Retablo De Maese Pedro: Ahora Veréis La Torre Del Alcázar De Zaragoza
- El Retablo De Maese Pedro: Miren Luego Vuesas Mercedes Cómo Llevan Al Moro A La Plaza De La Ciudad
- El Retablo De Maese Pedro: Miren Ahora A Don Gayferos
- El Retablo De Maese Pedro: Ahora Veréis A La Hermosa Melisendra
- El Retablo De Maese Pedro: Vais En Paz, Oh Par Sin Par De Verdaderos Amantes
- El Retablo De Maese Pedro: Miren Cuánta Y Cuán Lucida Caballería Sale De La Ciudad
- El Retablo De Maese Pedro: Non Fuyades, Cobardes, Malandrines Y Viles Criaturas