Amor Brujo (El) (1915 Version) / El Retablo De Maese Pedro 8.573890

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Amor Brujo (El) (1915 Version) / El Retablo De Maese Pedro 8.573890 FALLA, M. de: Amor brujo (El) (1915 version) / El retablo de Maese Pedro 8.573890 https://www.naxos.com/catalogue/item.asp?item_code=8.573890 El amor brujo Love, the Magician CUADRO PRIMERO ACT I [1] Introducción y escena [1] Introduction and First Scene [2] Canción del amor dolido [2] Song of a Broken Heart CANDELAS CANDELAS ¡Ay! Yo no sé qué siento, Ah! I don’t know what I feel, ni sé qué me pasa, nor what is happening to me – cuando éste mardito But how I miss this damned gypsy! gitano me farta! Fire, that blazes Candela que ardes Blazing stronger ¡Más arde el infierno is the inferno que toita mi sangre Which burns my blood abrasa de celos! ¡Ay! with jealousy! Cuando el río suena When the river boils ¿qué querrá decir? what does it mean? ¡Ay! Ah! ¡Por querer a otra se orvía de mí! For the love of another he forgets me! ¡Ay! Ah! Cuando el fuego abrasa… When the fire blazes, Cuando el río suena… When the river boils… Si el agua no mata al fuego, If the water doesn’t kill the flame, a mí el pesar me condena! then sorrow will damn me! ¡A mí el querer me envenena! Love is poisoning me! ¡A mí me matan las penas! Grief is killing me! ¡Ay! Ah! [3] Sortilegio [3] The Spell ¡Las doce! Twelve o’clock! ¡Las doce están dando! [En los brazos It’s twelve o’clock! [In the Virgin de la Virgen María su Hijo está Mary’s arms her Son is praying… orando…Por ello te pido oír puerta For him I beg to hear a door close, a child cerrar, niño yorar y campana repicar… cry and a bell chime… May my eyes ¡Lo que mi corazón desea mis ojos lo vean!] see what my heart desires!] ¡No ha de venir! - [¡Ya sé yo que no He won’t come! [I know he won’t viene!… ¡Para qué habré vivío un día come!… Why should I live one more más, si no le voy a ver! ¡Las doce! ¡De day, if I’m not to see him again! toas maneras, con pena o alegría hay Twelve o’clock! In any case, with pain que cumplir lo que está mandao! ¡Pa or with pleasure, we have to do what is que un Debé que está en el sielo, nos meant for us. He who is in heaven entre de su mano en er nuevo día!] gives us the new day!] So that he may Paque nos lleve por la buena vía… lead us to everlasting life… we will do haremos la danza der fin der día. the dance of day’s end. [4] Danza del fin del día: Danza ritual del fuego [4] Dance of Day’s End: Ritual Fire Dance [5] Escena: El amor vulgar [5] Scene: Common Love [6] Romance del pescador [6] The Story of the Fisherman Por un camino iba yo buscando la I walked along a road looking for my dicha mía: lo que mis sacais miraron love; what my eyes saw my heart could mi corasón no lo orvía. Por la verea not forget. Along the path I went. To iba yo. A cuantos le conocían - ¿ile those who knew him I asked, ‘Have habéis visto? - preguntaba, y nadie me you seen him?’ – and no one answered respondía. Por el camino iba yo y mi me. Along the path I went and my love amor no parecía. Er yanto der corasón I did not see. The cry of my heart could por er rostro me caía. La verea se be seen on my face. The path became estrechaba y er día se iba acabando. A narrower and the day was ending. On la oriyita der río estaba un hombre the bank of a little river a man was pescando. Mientras las aguas corrían fishing. While the waters flowed past iba el pescador cantando: ¡No quiero the man was singing, ‘I don’t want to ⓟ & © 2019 Naxos Rights (Europe) Ltd. Page 1 of 8 FALLA, M. de: Amor brujo (El) (1915 version) / El retablo de Maese Pedro 8.573890 https://www.naxos.com/catalogue/item.asp?item_code=8.573890 apresar los pececillos del río; quiero pluck little fishes from the river. I want hallar un corasón que se me ha perdío! to catch a heart that has been lost to me!’ ‘Pescador que estás pescando, si has ‘Fisherman who is fishing, if you have perdido un corasón, a mí me lo están lost a heart, mine has been robando a traición.’ El agua se levantó treacherously stolen!’ The water, on al oir hablar de penas de amantes y hearing the talk of lovers’ pain, rose dijo con ronca voz: ¡Pescador y up, and with a roar said: ‘Fisherman caminante, si sufrís los dos, en er and traveller: if you are both in pain, in monte hay una cueva, en la cueva hay the mountain there is a cave, and in the una bruja que sabe hechisos de amor! cave is a witch who has spells for love! Idla a buscar que eya remedio os dará! Go and find her and she’ll give you a Esto dijo er río, esto habrá que remedy!’ This the river said, and this haser…¡A la cueva de la bruja tengo has to happen… ‘To the witch’s cave I de acudir! ¡Si eya no me da er remedio go! If she cannot give me remedy then me quiero morir! I want to die!’ [7] Intermedio [7] Interval CUADRO SEGUNDO ACT II [8] Introducción: El Fuego fatuo [8] Introduction: The Will-o’-the-Wisp [9] Escena: El terror [9] Scene: The Terror ¿No hay nadie en la cueva? ¡Nadie me Is there nobody in the cave? Nobody answers me! responde! ¿Será que la bruja sale por Could it be that the witch goes out at night on la noche en busca de mengue jineta en her broomstick up the chimney, looking for the su escoba por la chimenea?… ¡Ay, devil on horseback? Ah, Lord protect me! Jesús me varga! ¡Qué miedo me entra! How terrified I am! ¡No hay nadie… estoy sola!… ¡Esta There is nobody here!… I am all es la candela!… ¡Este es el manojo de alone!… This is the candle! This is the las malas yerbas!… handful of herbs!… ¡Este es el lagarto!… ¡Esta es la This is the lizard!… This is the magic redoma encantá, donde el agua que phial, where the water that holds the sabe el secreto de toas las vidas está aprisioná! secret of all life is imprisoned! ¡No hay nadie… estoy sola!… ¡Si yo There’s nobody here!… I am all me atreviera… haría el conjuro que al alone!… If only I dared, I would do the diablo callao desata la lengua!… ¡No spell that loosens the devil’s tongue!… hay nadie… estoy sola!… ¡Si yo me There’s nobody here!… I am all atreviera!… alone!… If only I dared!… ¡Ah!… Ah!… Es er fuego fatuo, It’s the will-o’-the-wisp. Espíritu y rey de la cueva, que Spirit and king of the cave, who quiere vengarse de mí… wants to avenge himself on me… ¡No te acerques! Don’t come close! ¡Fuego del infierno que las almas quemas! Fire of hell that burns souls! [10] Danza del Fuego fatuo: Danza del terror [10] Dance of Will-o’-the-Wisp: Dance of Terror [11] Interludio: Alucinaciones [11] Interlude: Hallucinations [12] Canción del Fuego fatuo [12] Song of the Will-o’-the-wisp ¡Ah! Ah! Lo mismo que er fuego fatuo, Just like the will-o’-the-wisp lo mismito es er queré. Is love. Lo mismo que er fuego fatuo, Just like the will-o’-the-wisp lo mismito es er queré. Is love. Le juyes y te persigue, You flee from it and it pursues you, le yamas y echa a corré. You call it, and it runs away. ¡Lo mismo que er fuego fatuo, Just like the will-o’-the-wisp lo mismito es er queré! Is love. ⓟ & © 2019 Naxos Rights (Europe) Ltd. Page 2 of 8 FALLA, M. de: Amor brujo (El) (1915 version) / El retablo de Maese Pedro 8.573890 https://www.naxos.com/catalogue/item.asp?item_code=8.573890 Nace en las noches de agosto, It is born in August nights cuando aprieta la calor. When the heat bears down. Nace en las noches de agosto, It is born in August nights cuando aprieta la calor. When the heat bears down. Va corriendo por los campos en busca It runs through the countryside de un corazón… looking for a heart… ¡Lo mismo que er fuego fatuo, Just like the will-o’-the-wisp lo mismito es el amor! Is love. ¡Malhaya los ojos negros que le Damned are the dark eyes that can alcanzaron aver! see it! ¡Malhaya los ojos negros que le Damned are the dark eyes that can alcanzaron aver! see it! ¡Malhaya er corazón triste que en su Damned is the sad heart that wanted yama quiso arder! to burn in its flame! ¡Lo mismo que er fuego fatuo se Just like the will-o’-the-wisp desvanece er queré! Is love. Interludio Interlude [13] Conjuro para reconquistar el amor perdido [13] Spell to Reconquer Lost Love ¡Por Satanás! ¡Por Barrabás! By Satan! By Barrabas! ¡Quiero que el hombre que me ha. I want the man who forgot me to orvidao me venga a buscar! come for me! ¡Cabeza de toro, ojos de león!… Bull’s head, lion’s eyes!… ¡Mi amor está lejos… que escuche mi voz! My love is far away… let him hear my voice! ¡Que venga, que venga! Let him come! Let him come! ¡Por Satanás, por Barrabás! By Satan! By Barrabas! ¡Quiero que el hombre que me I want the man who loved me to quería me venga a buscar! come for me! ¡Elena, Elena, hija de rey y reina!… Helen, Helen, king’s daughter and [Que no pueda parar ni sosegar, ni queen’s daughter!… [Let him have en cama acostao ni en silla sentao… neither calm nor rest, neither sleep in hasta que a mi poder venga a parar!] bed nor sit in chair, until he is in my power!] ¡Que venga! ¡Que venga! Let him come! Let him come! ¡Por Satanás! ¡Por Barrabás! By Satan! By Barrabas! ¡Quiero que el hombre que me ha I want the man who deceived me to engañao me venga a buscar! Me come for me! I showed up at his door asomé a la puerta al salir el sol… as the sun came up… a man dressed in Un hombre vestío de colorao pasó… red passed by… Le he preguntao, y me ha contestao I asked him, and he said he felt like the que iba con los cordeles de los siete ropes that hanged seven people… ahorcaos… Y yo le he dicho: And I said to him: ¡Que venga, que venga! Let him come! Let him come! ¡Pajarito blanco que en el viento viene Little white bird that comes flying in volando!… ¡Que venga, que venga! the wind!… Let him come! Let him [¡Entro y convengo en el pacto!] come! [I enter into the pact and I honour it!] ¡Paque venga! ¡Paque venga! To make him come! To make him come! ¡Paque venga! To make him come! ¡Por Satanás! ¡Por Barrabás! By Satan! By Barrabas! ¡Quiero que el hombre que era mi vía I want the man who was my life to me venga a buscar! come for me! ¡Ah… ruido de cadenas arrastrás! ¡Er Oh… the sound of clanging chains! The diablo anda en esto! devil has a part in this! [14] Escena: El amor popular [14] Scene: Ordinary love [15] Danza y canción de la bruja fingida: [15] Dance and Song of the False Witch: Danza y canción del juego de amor Dance and Song of the Game of Love ¡Tú eres aquél mal gitano que una You are the evil gypsy that a girl once gitana quería! loved! ¡El querer que eya te daba tú no te lo You didn’t deserve the love that she ⓟ & © 2019 Naxos Rights (Europe) Ltd.
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  • Program Notes | Viva España
    23 Season 2018-2019 Thursday, February 7, at 7:30 The Philadelphia Orchestra Friday, February 8, at 8:00 Saturday, February 9, Cristian Măcelaru Conductor at 8:00 Los Angeles Guitar Quartet Chabrier España Rodrigo Concierto andaluz, for four guitars and orchestra I. Tiempo de bolero II. Adagio III. Allegretto Intermission Falla Excerpts from El amor brujo I. Introduction and Scene II. In the Gypsies’ Grotto: Night IV. The Apparition V. Dance of Terror VI. The Magic Circle: The Fisherman’s Tale VII. Midnight: The Sorcerers VIII. Ritual Fire Dance: To Drive Away Evil Spirits IX. Scene XI. Pantomime XII. Dance of the Game of Love XIII. Finale: The Waking Chimes Ravel Rapsodie espagnole I. Prelude to the Night— II. Malagueña III. Habanera IV. Feria This program runs approximately 1 hour, 45 minutes. The February 7 concert is sponsored by Robert E. Mortensen. The February 8 concert is sponsored by Judith Broudy. The February 9 concert is sponsored by Medcomp. 24 Please join us following the February 8 and 9 concerts for a free Organ Postlude featuring Peter Richard Conte. Lefébure-Wély Boléro de concert Soler Concerto No. 6 in D major, for two organs I. Allegro II. Minué Andrew Ennis, organ Bizet/transcr. & arr. Lemare Suite from Carmen The Organ Postludes are part of the Fred J. Cooper Memorial Organ Experience, supported through a generous grant from the Wyncote Foundation. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2.
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  • Style Matters: Questions of Interpretation in Manuel De Falla's Fantasía Bætica Nancy Lee Harper
    Style Matters: Questions Of Interpretation In Manuel De Falla's Fantasía Bætica Nancy Lee Harper Affiliation:Universidade de Aveiro, Portugal Address: Departamento de Comunicação e Arte, Universidade de Aveiro, Portugal TM - +351-91-902-6694 Tel/Fax: +351-234-912774 Email: [email protected] Aims and Objectives In the light of new musicological research, the aim and objective of this paper is to respond to interpretative questions in the Everest of Manuel de Falla's most abstract solo piano work, Fantasía bætica (1919) and to pose the question: could the work be Falla's true Homage a Debussy ? Context Situated between the great virtuosic pillars of the piano repertoire, such as Albéniz's Ibéria (1906-1909), Ravel's Gaspard de la Nuit (1908), Alban Berg's Sonata, op. 1 (1908), and Charles Ives' "Concord" Sonata (1909-1915) Falla's Fantasía bætica has been described as a kind of Spanish Islamey and an Andalusian Fantasy but not as an historical evocation. When Falla returned to Madrid from his seven years in Paris, the Spanish press found many of his ensuing works, such as El amor brujo and Noches en los jardines de España , to be too "Frenchified". This claim may rightly apply to his Fantasy, the last large- scale solo piano work which closes the so-called "Andalusian period" (1915- 1919). Falla subsequently embarked on a search for universal synthesis that would include his masterpieces El retablo de Maese Pedro and the Concerto for Harpsichord (or Piano), Flute, Oboe, Clarinet, Violin, and Violoncello. ("Bætica", the ancient Roman name of Andalucía, Extremadura, and parts of Portugal, was suggested by Falla at the request of his publisher.) The genesis of the Fantasy is found in the correspondence from Ernest Ansermet to Falla (in March, 1918, shortly before Debussy's demise) asking him to intercede with Artur Rubinstein on Igor Stravinsky's behalf (the latter was in dire financial straits because the Russian Revolution and the 1st World War had prevented him from receiving royalties).
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  • ARSC Journal
    HISTORISCHE AUFNAHMEN CHOPIN: 12 Etudes, Op. 10; 12 Etudes, Op. 25; 3 Nouvelles Etudes; GODOWSKY: Studies on Chopin's Etudes--Nos. 4, 13, 14, 15, 25, 26, 33, 36, 45, 47 & 48; Symphonic Metamorphosis on Themes from Strauss's "Die Fledermaus;" Symphonic Metamorphosis on Strauss's Waltz, "Artist's Life." David Saperton, pianist. International Piano Archives IPA 118/19, two records, distributed by Desmar. These are the legendary recordings originally issued on three LPs by the Command Performances label. (They seem to have been that label's only issues.) They are almost the only surviving recordings of Saperton, who is remembered mostly as Godowsky's son-in-law, one of the very few pianists who could play Godowsky's music. He had a long teaching career, but was never successful as a performer. Technically, there is some amazing playing to be heard here. As if the Chopin Etudes were not difficult enough, Godowsky has further com­ pounded them into incredible tangles of intertwining notes. I wouldn't say Saperton makes them sound easy, but he does play them, which is in itself a technical feat of enormous proportions. The fingers that can toss off Godowsky's work are not going to have much trouble with Chopin's and Saperton also does some amazing things with the Chopin Etudes. My opinions of all of this may well be a minority view among pianophiles who know the material involved. I have never thought much of Godowsky's music, which is indeed technically amazing but strikes me as musically uninteresting, fancy intellectual exercises with little expressive content.
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