2015 | 4(27) | 32-69
Article title

Instrumentacja El amor brujo Manuela de Falli

Title variants
Instrumentation in El amor brujo by Manuel de Falla
Languages of publication
Manuel de Falla was one of the greatest Spanish composers of the first half of the 20th century. He created just a few orchestral works, chamber music and music for the piano and voice and the piano. In his works, impressionistic sensibility is combined with the Iberian spontaneity, which added individual character to his compositions. What certainly deserves special attention is the ballet El amor brujo (The Bewitched Love), whose instrumentation is the subject of this article. Instrumentation in El amor brujo plays a crucial role in shaping of the work. The composer combines classic and modernist elements. First of all, the limited number of musicians in the orchestra - a single cast brass and string quintet reminiscent of early classical orchestra. However, the assignment of subjects mainly to wind instruments refers to the Romanticism. At the same time however, de Falla assimilates achievements of orchestral impressionism, such as the use of the piano and a wide range of strings articulations. In addition, we note de Falla's penchant for exploiting small-ensemble as opposed to neoromantic tendency to use great orchestral compositions, therefore, the full cast works, together with bells, which is heard only through three-bar Final. The treatment of the orchestra on the principle of gradation of sounds and numerous references to the guitar texture in strings and piano parts are essential features of Spanish folk music, and are present in all the works of Manuel de Falla.Instrumentation in El amor brujo by Manuel de Falla
Physical description
  • Uniwersytet Jagielloński w Krakowie
  • 1. Partytura: Falla M. de, El amor brujo, red. Antonio Gallego, Londyn 1996.
  • 2. Literatura cytowana: Andruchowycz A., Postać Manuela de Falli w historiografii muzycznej i jego twórczość na przykładzie „El sombrero de tres picos”, Kraków 2012 (praca magisterska).
  • Gallego A., Catálogo de obras de Manuel de Falla, Madryt 1987.
  • Gallego A., Manuel de Falla y El amor brujo, Madryt 1990.
  • González Pena L. M., Música y músicos en la vida de María Lejárraga, Instituto de Estudios Riojanos edición, Logrono 2009.
  • Jędrzejczyk A., Elementy flamenco w twórczości Manuela de Falli na podstawie „El sombrero de tres picos”, „Kwartalnik Młodych Muzykologów UJ” 2014, nr 1.
  • Pahissa J., Vida i obra de Manuel de Falla, Buenos Aires 1946.
  • Paja-Stach J., Rola instrumentacji w kształtowaniu brzmienia utworów orkiestrowych Debussy’ego, „Muzyka” 1975.
  • Piotrowska A.G. , Topos muzyki cygańskiej w kulturze europejskiej od końca XVIII do początku XX wieku, Kraków 2011.
  • Read G., Style and Orchestration, Nowy Jork 1979.
  • Zgraja K.P., Flamenco: historia, teoria, praktyka, Warszawa 1987.
Document Type
Publication order reference
YADDA identifier
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