The premiere was attended by the poets, musicians and painters who comprised the exclusive court of the Princess de Polignac.
This musical and theatrical adaptation of two chapters from Don Quixote was first performed on 25 June 1923 in the Princess’s palace in Paris, with sets and puppets designed and created by the composer’s young artist friends, Manuel Ángeles Ortiz, Hermenegildo Lanz and Hernando Viñes. The experience was followed by one of the milestones in Falla’s output, a work in which Cervantes and puppets again played a part: El retablo de maese Pedro, the fruit of a commission from the Princess de Polignac. After various modifications, and to the composer’s delight, it sounded rather like a harpsichord 26 GARCÍA LORCA, Francisco. So as to make the music sound old-fashioned, Falla covered the strings of our grand piano with tissue paper. Cante jondo par Federico Garcia Lorca aux ditions Allia. Francisco García Lorca recorded his memories of these pieces in Federico y su mundo: On 6 January, a children’s puppet show was put on at the García Lorca family home in Granada by Federico García Lorca, Hermenegildo Lanz and Manuel de Falla, who provided musical accompaniment to the three works staged (one of which was Cervantes’s theatrical interlude Los dos habladores), including, among other pieces, instrumental arrangements of an old villancico and one of the Cantigas of Alfonso the Wise. Granada, 21 June 1922.ĭuring the first half of 1923, Falla’s work revolved around Miguel de Cervantes and puppets – twice over. Four thousand people all silenced – and two thousand of them were women! … What better reception could there be? ” 25 El Liberal. The atmosphere of those starry and rainy evenings was described in a multitude of newspaper articles with eloquent statements such as that of “Galerín” in the Seville daily El Liberal : “ Here we have seen the rarest and most fanciful silk shawls in the world ” or, referring to the overwhelming sense of expectation: “ A great hush fell on the square. Prayers are categorized as spells that allow The Penitent One to learn and execute magical abilities that can be used in and out of battle. Cante Jondo of the Three Sisters releases a roar that damages enemies that are on the screen. Along with Federico García Lorca, Miguel Cerón and others, Manuel de Falla moved heaven and earth during the first few months of 1922 in the hope of rescuing “primitive Andalusian song” and bringing it to the Plaza de los Aljibes in the Alhambra for two evenings (13 and 14 June). Cante Jondo of the Three Sisters is a prayer in Blasphemous.
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