ManuEl dE FallA. Work done by: . Paula Clavijo Millán . Rafa Grosso Mcpherson. BIOGRAPHY. 1876. Manuel de Falla has born in Cádiz. 1885. He begins to recibe Eloisa Galluzo´s music lesons. 1893. He decides to be a musician. 1896. He goes to Madrid and study piano with Jose Tragó.
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ManuEl dE FallA
Work done by:
. Paula Clavijo Millán
. Rafa Grosso Mcpherson
1876. Manuel de Falla has born in Cádiz.
1885. He begins to recibe Eloisa Galluzo´s music lesons.
1893. He decides to be a musician.
1896. He goes to Madrid and study piano with Jose Tragó.
1904. He begins to comopose ” la vida breve”
1905. He wins prizes Ortiz and Lussó and “ la vida breve” has a prize too.
1911. He first visite to London where he presents his four spanish songs.
1913. “la vida breve” is in Niza.
1914. He composes seven popular spanish songs and start some proyects of ópera.With the first mundial war, he goes to spain and stay in Madrid. La vida breve is in the the theatre of La Zarzuela.
1915. The original version of “el amor brujo” is in the theatre Lara in Madrid.
1919. His parents die and he goes to live with his sister.
1920. He composes “homenaje a Debussy” to guitar. He goes to Granada.
1922. He composes “canto de los remeros del Volga” based in a Russian song.
1925. “El amor brujo” is in the Trianon Lyrique of Paris.
1926. Falla is 50 years old.
1950. He realices the concert and some songs in Paris.
1935. He composes “la vuelta de Egipto” and “La moza del cántaro” of López de Vega.
1939. He goes with is sister to Argentina.
1941. His health is afect.
1946. He dies in Altagracia (Argentina)
- La vida breve:The action passes in Granada. But Falla does not know the city of the Alhambra until 1915. From the same day of his discovery, tells us Maria Martínez Sierra in his memories, shelters in the from Cadiz musician an illusion: to live in Granada, to the margin of the noise and the combats of the capital. Juan Ramon Jiménez writes: went away to Granada for silence and time, and Granada him gave harmony and eternity.
-El amor brujo created by request of Shepherdess Empire for Martínez Sierra's spectacles. His primitive original form rests relies on recitations and dialogues more than debatable. But it is overcome by Fault in his version of ballet, of which other one is mere precedent and surveyor's pole of a creation that already was in march. It is in the Parisian repremiere of 1925, led by The Argentina and Vicente Escudero, when, in his definitive form, El amor brujo satisfies fullly. To Fault and to the most varied public. Nobody better than Antonia Mercé, The Argentina ", to think: " Few things can try get a pleasure deeper that to comment on this masterpiece so loaded with the beauties of a race. I have soaked intimately in this music practically incorporated into me itself. It is not only the result of 10 years of work that I have dedicated, every day any more sobrecogida for the beauties that it contains; it is, especially, the consequence of a knowledge and of a communion that they existed from the beginning. I have delivered him everything what exists in me, everything what I am capable of giving and, to change, it has provided me, while it was discovering his more subtle secrets, the sensation of what can be something immortal ".
-Noches en los jardines de España.
-El sombrero en Madrid.
-El sombrero de tres picos.
-Homenaje a Claude Debussy.
-Fantasía bética para piano.
-El retablo de Moese Pedro.
-Concierto para clave y siete instrumentos.
- THE INFORMATION CONCERNS TO:
. Enciclopedy’s Larousse.