Falla: El Amor Brujo - The Essence of Manuel de Falla’s Music

Enrike Solinis, Maria Jose Perez, Euskal Barrokensemble

Falla: El Amor Brujo - The Essence of Manuel de Falla's Music
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Falla: El Amor Brujo - The Essence of Manuel de Falla’s Music

Enrike Solinis, Maria Jose Perez, Euskal Barrokensemble

Following the album ‘Euskal Antiqua’, this new release by Enrike Solinis in the series Alia Vox Diversa offers new insight on the Spanish traditional music through a masterpiece by Manuel de Falla: The Enchanted Love (El Amor Brujo). In this ballet, Spanish tradition and classical music are intimately linked and Solinis' new approach - on baroque instruments - makes the essence of De Falla’s music perfectly audible.


In addition to De Falla’s work, the Euskal Barrokensemble performs other pieces inspired by fertile encounters between popular and classical music. This sheds new light on well known masterpieces like the famous ‘Concerto de Aranjuez’ by Rodrigo or Scarlatti’s Sonatas.

Track listing:

Cantemir: Escena Bestenigar

Falla:

Canción del amor dolido (from El amor brujo)

Ritual Fire Dance (from El amor brujo)

El Amor Brujo: Pantomime

Las campanas del amanecer (El amor brujo)

Koumiss y Fuego Fatuo

Pasacalle en Círculo Mágico

Rodrigo:

Concierto de Aranjuez: Allegro con spirito

Concierto de Aranjuez: Adagio (extract)

Santa Cruz: Xácara del juego de Amor

Sanz: Canarios

trad.: Taranta de la Siega

 

Review

Manuel de Falla’s legacy is a study in contradictions. Although Spanish-born, Falla spent seven years in Paris, where he greedily consumed the music of Ravel and Debussy, and marvelled at colourful spectacles at the Ballets Russes. In France, Falla was admired for his Spanish sound palette, but at home he was criticised for his susceptibility to foreign influences. Nowadays, his music is most famous for inspiring Miles Davis’s Sketches of Spain. In El Amor Brujo, Euskal Barrokensemble (under Enrike Solinís) has at last repatriated Falla, recording fiery folk-inspired arrangements of Falla’s compositions alongside those of Tárrega and Rodrigo.

Flamenco singer María José Pérez plays a starring role. I have listened to (and loved) a number of recordings of Falla’s vocal music, and it took some time for my ears to adjust to Pérez’s comparatively rustic, guttural voice. But what she lacks in refinement, she makes up for in passion. While the stereotypically flamenco-sounding Cancion del Fuego Fatuo is not to my taste (Victoria de los Ángeles’s interpretation remains unsurpassed), Pérez’s effervescent voice sounds well in the colourful vocal arrangement of Concierto de Aranjuez (first two movements). With Euskal Barrokensemble as your guide, allow yourself to be transported to Falla’s Spain.


Alexandra Mathew is from Readings Carlton.

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