Folksong Models and Their Sources in Manuel De Falla's Siete Canciones
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Folksong models and their sources in Manuel de Falla's Siete canciones populares espaiiolas 1 Michael Christoforidis It may be that the RussianStravinsky and the the purely melodic lines of their songs. The Spaniard Falla did not go on journeys of rhythmic or melodic accompaniment is as [folksong] collection, and mainly drew on important as the song itself. Inspiration, the collections of others, but they too, I feel therefore, is to be found directly in the peo- sure, must have studied not only books and ple, and those who do not see it so will only museums but the living music of their coun- achieve a more or less ingenious imitation of tries.2 what they originally set out to do.8 This observation by Bart6k on the sources of the folk This stance seems to contradict Bartbk's assertion material employed by Stravinsky in his Russian works regarding the primary source of Falla's folk inspira- has been supported by a body of research demonstrat- tion. The essay 'Nuestra Musica' should be read con- ing Stravinsky's use of folksong collection^.^ The textually, as it was in essence directed against the extent to which Manuel de Falla utilised such collec- Spanish zarzuela [operetta] tradition. In their attempt tions was raised in two articles by the eminent Spanish to create a distinctly Spanish music, many zarzuela folklorist Manuel Garcia Matos dating from 1953.~ composers incorporated melodies from folksong col- These articles dealt with El sonibrero de tres picos [The lections within the nineteenth-century Italianate tonal Three-Cornered Hat], El retablo de Maese Pedro [Master framework of that genre. Falla himself used such Peter's Puppet Slzow] and the Siete canciones populares collections and pre-existingmusical matter from printed espafiolas [Seven Spanislz Folksoizgs], and have provided sources in almost all his mature works, though he the basis for much of the later discussion surrounding generally subjected this material to a greater degree of Falla's use of folk material5 In a more recent article, elaboration and integrated them within an original Josep Crivillk y Bargall6 has also traced Falla's use of conceptual framework. folksong models in Siete canciones populares espafiolas.6 Falla's activity as a folksong collector was not Neither scholar, however, had access to Manuel de extensive prior to his return from Paris toSpain in 1914. Falla's personal library and sketch materials which Despite being raised in Andalusia-the region whose have survived relatively inta~t.~An examination of music provided the characteristics for much of what these sources, now located at the Archivo Manuel de was seen to be 'Spanish' in nineteenth-century Eu- Falla in Granada, has led to the identification of the rope-Falla lived in the cosmopolitan city of Cadiz, collections handled by the composer and some insights where his contact with folk music was limited. As a into his assimilation of folk music. child and youth, Falla led a relatively isolated exist- Manuel de Falla most clearly defined his posi- ence, mainly socialising with the children of the bour- tion on the use of folk music in an essay from 1917 geois merchant class; however, he later stressed his entitled 'Nuestra musical ['Our Music']: exposure to folklore through the songs and stories of his nursemaid, 'La m~rilla'.~From this setting, Falla Let us now turn to folksong. Some consider moved to Madrid in his early twenties to further his that one of the means to 'nationalize' our own music is the strict use of popular mate- studies at the Conservatorium. The zarzuelas he com- rial in a melodic way. Ina general sense, I am posed in the subsequent years, and later suppressed, afraid I do not agree, although in particular are littered with melodies taken from folksong collec- cases I think that procedure cannot be bet- tered. In popular song I think the spirit is tions. It was not until he came to study with Felipe more important than the letter. Rhythm, Pedrell in 1902 that Falla was actively encouraged to tonality and melodic intervals, which deter- study folksong directiy from the people. Apart from mine undulations and cadences, are the es- sential constituents of these songs. The peo- his work as a composer and musicologist, Pedrell was ple prove it themselves by infinitely varying an ardent folksong collector who believed that Spain's musical regeneration was tied to the study of his coun- the works of the previous decade. This practice in Siete try's folklore and glorious musical past.10 Antonio canciones probably prompted Falla to qualify his re- Gallego has argued that Falla's only extant collection of marks in 1917 on the exclusion of strict melodic use of folksongs, a set of Christmas carols entitled Cantares de folk material by stating that in 'particular cases I think Nochebuena, was gathered in 1903 under the influence that procedure cannot be bettered'.16 of Pedrell's teachings.ll Jaime Pahissa gives the following account, ap- Falla continued to use folksong collections as a proved by Falla,17 on the extent to which each of the compositional aid even after ceasing his studies with songs reproduces traditional folk melodies: Pedrell in 1904. In that year, he embarked on his first ...sometimes the melody was purely folk- opera, La vida breve, which is set in the Albaicin quarter lore in character, at other times less so and of Granada. Given that he had never been to Granada, sometimes wholly original. For example, the Falla relied heavily on postcards of the town and first song, 'El pa60 moruno', is the same as the well-known popular air. The melody of printed scores containing dances of the province to 'Asturiana' is also taken from the popular I evoke the atmosphere of Carlos Femhdez Shaw's one, but the interesting accompaniment gives I libretto. This practice led to some awkward moments it a new guise. There is also a good deal of at the work's first production in Nice where Falla was folk-lore in 'Seguidilla murciana'; but most of the 'Jota' is Falla's own, merely based on obliged by the French cast and crew to relate his 'first- the popular model. The 'Nana' is an hand' descriptions of the town.12 Falla's move to Paris Andalusian cradle song-the first music he in 1907estranged him from the living source of Spanish had ever heard from his mother's lips before he was old enough to think ...ln the 'Polo' folk music and prolonged his reliance on printed col- there is also a great deal which is original.18 lections. Ctlatro piezas espafiolas [Four Spanish Pieces] of 1906 to 1908 and Noches en 10s jardines de Espaiia [Nights In their respective studies, Garcia Matos and in the Gardens of Spain], composed between 1909 and Criville y Bargall6 indicate various earlier printed 1915, incorporate folk melodies taken from printed sources as possible models for most of the Siete caizciones, sources. By this stage, however, the use of such mate- and largely agree with Pahissa on the degree of Falla's rial was tempered by a greater experience of the real elaborations. Their process of deduction is based on an sound world, context and performance practices of the extensive knowledge of Spanish folksong and the nu- music employed. merous printed collections, which are compared me- Perhaps the most popular set of Spanish songs lodically to the printed edition of Falla's work. A study ever written,13 Siete canciones populares espafiolas is the of the composer's library and sketch material in the composition which makes most blatant use of pub- course of my research has permitted a clear identifica- lished collections. All seven songs ('El pafio moruno', tion of each of the models used by Falla in this work, as 'Seguidilla murciana', 'Asturiana', 'Jota', 'Nana', well as providing insights into aspects of his creative 'Cancibn' and 'Polo') are inspired by printed models. process. The fact that they were composed in 1914, towards the The main volume from which Falla drew for end of Falla's seven-year Paris may have Siete canciones was Jose Inzenga's anthology of folksongs contributed to the dependence on such sources. The with piano accompaniment, Ecos de Espafia, published circumstances of their commission are outlined by in Barcelona in 1874.19 Four of the songs by Falla ('El Jaime Pahissa, Falla's most extensive contemporane- paiio moruno', 'Seguidilla murciana', 'Jota' and ous biographer: 'Cancibn') are based, to varying degrees, on Inzenga models. Exactly when Falla acquired a copy of Ecos de After the first performance of La vida breve at the Opera Comique, a Spanish singer from Espafia is uncertain, though it is the probable source for Milaga who was in thecast sought hisadvice the 'zorongo' referred to in the last movement of Noches as to which Spanish songs would be most en 10s jardines de Espafia. Falla added the words 'Danza suitable for her to give in concert in Paris. Falla was most interested and told her that he gitana' [Gypsy dance] to the printed title 'El zorongo', would try to arrange some for her himself.15 on page 102 of his copy of this collection. Concrete evidence of Falla's use of this source in Siete canciones is The nature of the compositions requested obvi- provided by the composer's annotations in his copy of ously entailed that Falla would have to make more Ecos de Espaiia and the appearance of four circled I literal use of folk material than had been his custom in Context 9 (Winter 1995) numbers in the sketch material for this work, two of was also extended to eight bars.