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The application of Spanish folk music inthe piano suite "Iberia" by Isaac Albeniz.
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Authors Redford, John Robert.
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The application of Spanish folk music in the piano suite "Iberia" by Isaac Albeniz
Redford, John Robert, A.Mus.D
The University of Arizona, 1994
V·M·I 300 N. Zceb Rd. Ann Arbor. MI 48106
THE APPLICATION OF SPANISH FOLK MUSIC
IN THE PIANO SUITE IBERIA BY ISAAC ALB~NIZ
by
John Robert Redford
A Document Submitted to the Faculty of the
DEPARTMENT OF MUSIC
In Partial Fulfillment of the Requirements For the Degree of
DOCTOR OF MUSICAL ARTS WITH A MAJOR IN PERFORMANCE
In the Graduate College
THE UNIVERSITY OF ARIZONA
199 4
THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE
2
As members of the Final Examination Committee, we certify that we have
read the document prepared by JOHN ROBERT REDFORD
entitled THE APPLICATION OF SPANISH FOLK MUSIC
I~ THE PIANO SUITE IBERIA BY ISAAC ALB€NIZ
and recommend that it be accepted as fulfilling the requirements
for the Degree of
1,J,~4 Prof. Nicholas Zu
l' 1 !.Il /"L/ "
;$r'~ pal a F in ~/
DOCTOR OF MUSICAL ARTS
/Lf Ap ... ;t: ''11-Date
D~TJ()/W 1'1, (71'-/
/</ d~ ) (f 5 ~I Date j
Date
Date
Final approval and acceptance of this document is contingent upon the candidate's submission of the final copy of the document to the Graduate College.
I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the requirement.
Date
3
STATEMENT BY AUTHOR
This document has been submitted in partial fulfillment of requ i rements for an advanced degree at The Un i vers i ty of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library.
Brief quotations from this dissertation are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his or her judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author.
SIGNED:
4
TABLE OF CONTENTS
1. LIST OF ILLUSTRATIONS ............................... 5
2 . ABSTRACT............................................ 6
3. INTRODUCTION.......................... . . . . . . . . . . . . .. 8
4. OVERVIEW OF IBERIA.................................. 11
Characteristics of the Dances Stylized in Iberia 11
The Movements of Iberia ......................... 14
5. SPANISH FOLK DANCES EMPLOYED IN IBERIA .............. 26
6. THE PERFORMANCE OF FLAMENCO AND THE GUITAR IDIOM .... 38
7. SPANISH FOLK SONG ................................... 46
Musical Characteristics ......................... 46
Cante Janda.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 52
The Cop 1 a. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 60
8. SUMMARy............................................. 66
9. NOTES ............................................... 67
10. REFERENCES.......................................... 69
6
2. ABSTRACT
Iberia,
during
life.
Albeniz' acknowledged masterpiece, was published
1906-1909, the I as t three years of the composer's
The suite, subtitled Twelve New Impressions, is a
picturesque, evocative description of Spanish scenes and
landscapes, although for the most part centered around
Andalusia.
Albeniz has made full use of the wealth of Spanish folk
music in his compositional style, and the movements of
Iberia represent a synthesis of the characteristic elements
of Spanish folk music. These elements may be considered
according to the following three main categories: (1) the
rhythms of Spanish dance especially those belonging to the
body of Andalusian folk music known as flamenco, (2) the
characteristics of Spanish folk song, and (3) the guitar
idiom.
This study identifies and examines the numerous aspects of
folk music employed in Iberia, and in several instances
compares Albeniz' stylizations with quotations of authentic
folk music.
The purpose of this study is to afford the pianist who
wishes to perform Iberia. a greater insight into the
interpretive requirements of this masterpiece. It is also
hoped that the interested musician will be led to a further
exploration of the richness of Spanish folk music. This of
course will allow an even fuller understanding and
appreciation of Iberia.
7
8
3. INTRODUCTION
Iberia, Albeniz' acknowledged masterpiece, was published in
four books during 1906-1909, the last three years of the
composer's life. The suite, subtitled Twelve New
Impressions, is a picturesque evocative description of
landscapes, al though for the most part
Andalusia, which is the southernmost
Spani sh scenes and
centered around
prov i nce of Spa i n direct I y across the Med i terranean from
Morocco and Algeria (although Catalan by birth, Albeniz
felt himself a Moor at heart!).
Albeniz draws freely from the wealth of Spanish folk music,
and the movements of Iberia frequently employ
characteristic dance rhythms, especially those belonging to
the category of Andalusian folk music known as flamenco.
These dance rhythms are of ten a I terna ted with a I yr i ca I
vocal section called a copla, and although not actually folk
song quotations, they are stylizations of the melodic, modal
and rhythmic features of Andalusian folk song.
The pieces are large sca I e (averag i ng abou t seven m i nu tes
each), full of color, and seemingly limitless in rhythmic,
melodic and harmonic invention, again due in part to the
richness and variety of Spanish folk music. The vast scale
9
of dynamics ranges from quintuple p to quintuple f and there
is also the designation, "even louder if possible". 'I'he i r
complexity of technique once even drove Albeniz to consider
destroying them as unplayable. The chart below shows the
geographic origins of each of the movements. EI Polo is the
name of an Andalusian song or dance, therefore Evocation is
the only work in the suite whose title does not refer to a
particular style or geographic location.
Figure 1. Geographic locations of movements of Iberia.
(See Next Page)
o -
IBERIA: 12 nouvelles 1mpresslons· en quatre c::ahiers (12 New -Impressions· in rOUT Books)
Book 1 (Composed 1906; dedicated to Madame Ernest Chausson) Evocaci6n (Evocation) EI Puerto (The Par EI Corpus en Sevilla (Corpu~ Seville
Book 2 (1906; dedicated to Blanche Selva)
Ralld~e~ii~~~;;~;~~~~:::::=~:~~~~~~~~~~~~~~~§~_:", Almerf Trian
Book 3 (1907; dedicated to Mar EI Albaidn EIPolo Lavapi6
Book" (1908; dedi~ Malag Jerez Eritaiia
"uHOIe"
'''KlOz:):.~ 11 ... t; bAI.EARle h.
"
" t ,.
"
•" .. of e •• QUe c ........
1 1
4. OVERVIEW OF IBERIA*
Characteristics of the Dances Stylized in Iberia
Buierfas Triple time, fast tempo.
The guitar is featured prominently as a solo
instrument. The music is played with abandon and has
continually shifting rhythmic accents. The term
buierfas is derived from the Spanish buriar, which
means to mock. scoff, burlesque.
Fandango Triple time, moderately fast tempo.
The dance is performed in alternation with sung stanzas
(copias). Important local variants are found in Malaga
(ma i agueffa) , and Ronda (rondeffa). Another variant is
the fandanguiiio, a slow plaintively sung melody.
Habanera Duple meter, slow to moderate tempo.
A Cuban song and dance, named after the capital,
Havana. The most typical rhythms are:
(a)
(b) 2 14
nfl
mn or
~
*There is some duplication of information with this section and the following sections. This is deliberate as this study allows a movement by movement examination of Iberia and also an examination according to categories of Spanish folk music.
12
Jota Triple time, fast tempo.
A genre of song and dance especially characteristic of
Arag6n. in northern Spain, but widely disseminated
throughout the Spanish peninsula. In its simplest
form, a copla consisting of four octosyllabic lines is
set to two to four phrases of music.
Malagueifa Derived from the fandango.
An emotional and sensual gypsy song and dance often
characterized by improvisation and cadential
flourishes.
Polo Triple time.
A song and dance of Andalusia belonging to the genre of
cante jondo. Fundamentally a lament despite the lively
example in El Puerto.
Rondef'fa Derived from the fandango.
Like the fandango it includes sung stanzas in
alternation with instrumental interludes. A rhythmic
feature is the alternation of 6/ 8 and 3/4 measures.
Seguidi lIas Triple time, moderately fast.
A typical feature is a melodic phrase beginning on the
second or fourth eighth-note of a 3/ 4 measure e.g.
Sevillanas Gypsy flamenco version of the seguidillas
originating from Seville.
Solea
13
Triple time.
Solea (plural soleares) means loneliness. The soleares
are stark and tragic. They belong to the group of
flamenco dance-songs which have developed from old
religious chants and therefore retain an Eastern
character.
Tarantas Triple time.
Yet another form derived from the fandango. The vocal
sections of this dance are rhythmically free. and like
those of the solea are related to chant.
14
The Movements of Iberia
Evocati6n serves as a gentle romantic introduction to the
suite and immediately evokes the languid exotic nature of
Spanish folk song. Its two themes represent respectively a
fandanguilJo and the lyrical copJa of a Navarrese jota, both
having a guitaristic accompaniment.
Ex. 1. Evocati6n; fandanguiJJo
1\ ,------ -
j 10) ~ f':: ~ .. '~"":;;'?J..._ ..., -, T .... ..... --=.7 ..
..~ ==--~ ]. bt='!!: -~~ :::=-
~ I ... ~t\ .... '1\
, !
~. ~. ~.
15
Ex. 2. Evocati6nj copla ,,,.,.,, ~'''·J/".Tem}Ju. ~ 1:\ >- ____
1\ , ... I ... I. .~ ~ ~~ ~
{ "-
oJ _.
"---" ~'. "",-=-'. ~~...;.
~ i PPP ---, , ,-d- ~ ! } .;. i t\ -LI '. ... : . - 'fW. ~.
El Puerto is an impression of the little fishing port of
Santa Maria on the Bay of Cadiz. Three contrast ing dance
forms make this piece immediately appealing: a polo
character i zed by syncopa t ion, a bu 1 er 1as, one of the mos t
exciting flamenco dancesj the music imitates the violent
strumming effects of the guitar and the stamping of the
dancers. The third dance is a languorous seguiriya gitanas
which is essentially a lament.
Ex. 3. El Puertoj polo
,.. >.:
II , , .... .................. 41- ~+.;,. ... --:.. .;, ;:.., ....:. '';' >- >-
{ oJ
''''; ,I ~·mri· rn ~ II ~
~ ~~ ~ .L 'A I... ... ~'.i.lJA
~. 'fW.
16
Ex. 4. E1 Puerto; bu1erias ~~/l'~~~~~~~~~~~~ jf I i
F:l
~ I - - -
Ex. 5. E1 Puerto; seguiriya gitanas
~ p-==== ."',."'· ..... t \ .. nnr ... p
::> -
7!"-- ~.
r~----1ib.
Sevi lIe is famous for the pageantry and intensi ty of its
reI igious celebrations, especially those of Holy Weel.; and
Corpus Christi. E1 Corpus en Sevilla begins with muffled
drum beats followed by a march depicting a great procession.
17
As the procession, bearing huge ornate effigies of Christ
and the Virgin Mary, makes its way through the narrow
crowded streets, voices will suddenly be raised in a saeta -
I iterally an "arrow of song" - piercing the celebration with
the vibrant intensity of its lamentation. 1 The saeta is a
form of cante janda, the semi-improvisational "deep song" of
Andalusia. Usually invoking the sufferings of Christ, it is
taken up by one spectator group after another passing from
ba I cony to ba I cony as the process i on moves a long. In E1
Corpus en Sevilla the saeta is stylized by fortissimo
octaves with the march theme used as an accompaniment.
Ex. 6. E1 Corpus en Sevilla
J·,.tr'Ir·~ (,. t"",p". >.>. --8 .. · .. ··~ .... •••••·••• .. ······-·-· .. -·· ..
L' . -------------.---------------------- .---------------~; I . j ~
fI ~ ~ =:S: ~ 4- IL .If. ~ .If. ~ L--' L L .. IL ... ! :.e - - ..... /
oJ .fJ:ffT 1====f n:=r= 1\ ~ ~ .JL ~ . ~
. -OJ
J:t:/J~ " ~};
\
1~. :. "rd. bit'll marl u .. r I .. ba!,.\tt.
~.
-==r= F;= L .If. .....
I ~J~.
IT ~ >- 1 1l.
-J :j/ -~.
..... :f 8·------·
....... .At. ... ... ........
18
Book II of Iberia opens with Rondefla. Like the malagueffa,
the rondefla is a dance which takes its name from the place
where it is performed, in this case the Andalusian ci ty of
Ronda. Another feature that the two dances have in common
is that they are both var i ant s of the fandango, somet i mes
described as the principal dance of Andalusia. Folk dances
of Spain are characterized by rhythmic vivacity and
energet i c execut i on2 . This rondefla uti 1 izes a systematic
hemiola effect; an alternation of 6/ 8 and 3/4 measures:
Ex. 7. Rondefla
-I AlIeg...,tto M !II •• - tiS >-~ I'\~
-or I...l L.i....;,- V1~1~1 mf V V. "& ,., }Jr"(".~
~ :
-Z::: •. ..--r 1 r
I -~
:.....J ~:_r ~1~7f7 .l'! h.. .
~~ I 'fUI.
1
Almeria, named after the Andalusian seaport , features the
rhythm of the tarantas, a dance characteristic of this
region. The rhythm is very languorous and swaying due to
the subtle cross rhythms in the left hand:
Ex. 8. Almeria
(See Next Page)
Ex. 8. Almeria
lUIJ = 72 '\llcgr~tto mod<:rnto
>- ~
~r~~ .t(J/I·~ ~
=?- .L
~. ~. .
19
.• ue I. Pflill prdd ... Tcut tI morruu dail eire J"e d'UD~ 'I(GD Dalrhalaat •. 1!L mollf'm.is birD r1Ihm~f'.
A Moorish influence can be sensed as Moorish and Oriental
dances are character i zed by movement s 0 f the body rather
than the feet. 3 The cop1a, superimposed over this rhythm is
one of the most beautiful in Iberia.
Triana is the name of a gypsy quarter in Seville and not
surprisingly the piece is based on the rhythm of the
sev ill anas, one of the mos t popu 1 ar and exuberant of the
flamenco dances.
Ex. 9 . Triana
.. , ... J :94 ,uJcgretto cun ,Ilnimn ~ / ===- ===-
"u ~_ ~ ~- Y-.~- >:::~- === '1-,
{If'-lol •• .- II -t..) ~ -= J.- .-'qrat'il'u",
>- >-
~~~~ V'~ ( .. r t""rlr,. >- ~ >- ;...::;'-
'fUl. 'fUI. ~.
The rhythm IS alternated, and at times combined with a
marcha torera (bullfighter's march). In addition, Albeniz
20
manages to emulate the guitar, castanets and tambourine.
Triana is the most popular and the most frequently played of
all the pieces in Iberia.
One of the most remarkable movements of the whole
collection, and one which was particularly admired by
Debussy, is £1 A1baicin (the gypsy quarter of Granada, on a
hill facing the Alhambra palace). The music begins with a
bu1erias in the style of a virtuoso guitar improvisation and
is one of these melancholy yet passionate dance types so
beloved by the Andalusian gypsies. 4
Ex. 10. £1 A1baicin
I
fl II ~ ~ su All 0 .. .: cgr ass" •. D\" me aDCO :co
f ~ - ... ....- 4- "* .... I...J4- ....- .... .... , I "d LJ I I I , fl I
, = F - , I
-n...-oJ 7/ ':' '!' "7 •
ppp. prlil. p;'f.I •• 1 lrO' .. 1o DIP< t/;ujuUh nflll[hu/QIII,
Debussy was so struck by thIs movement that he wrote:
Few works of music equal £1 Albaicin from the third volume of Iberia, where one recaptures the atmosphere of those evenings of Spain which exude the odors of flowers and brandy .... It is like the muffled sounds of a guitar sighing in the night, wi th abrupt awakenings, nervous starts. Wi thout exactly using popular themes, this music comes from one who has drunk of them, heard them, up to the point of making them pass into his music so that it is impossible to perceive the line of demarcation. 5
21
The point is valid: Albeniz was so thoroughly familiar with
the Spanish idiom that his music sounds as authentically
Spanish as actual folk music.
A melancholy mood also pervades E1 Polo (the name of an
Andalusian dance-song), which Albeniz directs to be played
"dans I' espr it du sang I ot ": these 'sobs' are sugges ted by
the broken phrases and syncopations:
Ex. 11. E1 Polo
~
i I - ~ - -->- -
1\ >-- I
OJ - ~ , - ..
,., .. ..... ,
0) =~ == - . ..." ::: + ~,
w
>-..........
w
-
-
I".h"", m"'7u': ."m .• oupl. ::::.. >, -d="YIO'""r
' --;. +
;;;:--, "'~
+
~
~'-. ! ~.
---........ .. ."
-~ '~ 1 II .... -
_r:
Ostensibly the only non-Andalusian piece in the suite,
LBVBpies gets its title from one of Madrid's working-class
quarters, named for a church where the foot-washing ritual
was performed on Holy Thursday (lavar: to wash, pie:
foot). Albeniz directs that "this piece should be played
joyfully and with freedom" apparently to depict the people
of that district who are loud in manners and
22
6 dress.
Lavapies is notorious for its high level of difficulty and
dissonance. The main rhythm is the habanera, a Latin-
American dance of Spanish origin, which was fashionable in
the dance halls of Madrid. The theme however. is taken from
an Andalusian villancico (an important type of refrain
song) .
Ex. 12. Lavapies St&s.~o'1'cmpo,bicn rythm';
In main drolll' mt'::ofO,.'1! Iniun"t "l!uo"'I"'I"r..I/tml·~· ,J ,J .:l:> 2
V '7 ~ ~ ..
.. ,. II
~.
I.M~· leo"
~~ ..,tJ;
..~
x. --f... GT -';-7' .." "=F:;- G7 ~ I,,",. ~ I,tllr;
In the opinion of Henri Collet, the French biographer of
Alb~niz. the fourth book of Iberia contains "the most
beautiful jewels of the collection."7 As expected, Malaga
is a ma 1 agueffa, one of the popu 1 ar dance forms re I a ted to
the fandango. The opening is very striking in its use of
syncopation and rhythmic impetus:
Ex. 1 3 . Ma J aga
I All • M 58 "
A t'gro,·,,·o .. = _.fI'~
o:r f ' . I "'1'~ In .... /" •••. , .• '/. '"/'"'1'
--=>-:-=: r1 ~ ~ d ..... >-o!:""-I .JI<. >-
~
-~ I' =- l':::'--j V-I -c::: I ~ ·oJf· 'fill. 'fW.
>- --.. ~ ~ r-,
{ ~
~. !h.
23
Jerez takes its name from the famous wine producing town of
Jerez de la Frontera near Cadiz (from which we get the
Eng I ish word "sherry"). The piece is in the style of
another melancholy Andalusian Gypsy dance, the soJeares
<soledad: lonel iness). The opening employs a typically
Spanish descending tetrachord in the phrygian mode:
Ex. 14. Jerez
I
d tI \I -" III , .. Au an DO .1 J: .. qa lHlnu.l
1'1 r.-. ,.;;;:.
1 I oJ S *7 V ..... c....r·
rlUU.l" 1'1 r~"f'u",
l' ., ~ .--' .. :
-
~ .....--:~ -....... ~ ~~ .., ;;..: .., ; ::--"' c...,.-
I~~ ~ ''''~·'''il ~ _ • I-----~ '_ ~ __
,- ~ " ~ I'-L-=..~:' ..,l.\ r-,
I
'fUl. P"t'o.\j~~ ='.i:iO. ~.~. '£ill.
24
Eritafla, named after a popular inn on the outskirts of
Seville makes a fitting conclusion to Iberia. Like Triana
the festive rhythms of the seviJJanas are employed. In this
movement the exuberant mood is allowed to continue through
the whole piece without the interruption of a lyrical copJa.
Ex. 15. Er i tafra
Alleg .... tto g.oazioso.lI.U = J
J '!'':'~''':''======= $'a"alti,!;mo giorola
'-...... ~.
........ ~ . . . ~
lII"rr:utu
Debussy was so enthused about this work that he wrote:
Eritafla is the joy of morning, the happy discovery of a tavern where the wine is coo 1 . An everchanging crowd passes, their bursts of laughter accompani ed by the j ing ling of the tambour ines . Never has music achieved such diversified, such colorful, impressions: one's eyes close, as though dazzled by beholding such a wealth of imagery.8
25
26
5. SPANISH FOLK DANCES EMPLOYED IN IBERIA
Since folk song and dance are for the most part discussed
separately in this study, it needs to be mentioned that in
reality the opposite holds true; most of the folk music in
Spain is danced as well as sung. Flamenco is often
designated as cante flamenco (oante meaning song or
singing). The singing may serve as accompaniment to the
dance, or it may occur as a oopla, which is a verse that is
sung as part of a dance. Also, although oante jondo ("deep
song") refers to the oldest type of Andalusian folk song,
the terms oante jondo and cante flamenco are also used to
distinguish between two basic groups of dance types. 1 The
latter refers to a relatively modern group (late eighteenth
and early nineteenth centuries) and includes the vibrant
energetic dances which we know as flamenco. The former is
much more somber and is
fatalism.
imbued with lamentation and
However, because of the preeminence of dance as a national
musical form in Spain, and the huge variety of forms and
styles even within the confines of the twelve movements of
Iber i a, it is usefu I to make a separate study of Span i sh
dance.
27
It is possible to designate Spanish dance forms as either
classic or flamenco, the latter being dominated largely by
gypsy influences. Almost all of the dances employed in
Iber i a be long to the flamenco category and even the so-
ca I led classic dances are used in their flamenco
derivatives. The fandango, seguidi llas and jota are three
of the most widely known classic dances, and despite being
associated with a particular province, they transcend
regional classification. 2 The element of the jota which is
found in the Iberia suite is the lyrical vocal copla which
will be discussed later.
The fandango is a I ively dance in triple time (very few
dances of southern Spain use duple meter) with alternating
sung stanzas. One author has called the fandango the basic
dance of Andalusia. However, the fandango survives mainly
in its flamenco derivatives which constitute a very
important group of dances. There are four such variants in
Iberia: a malagueifa (Malaga), rondeifa, tarantas (AlmerIa),
and a fandanguillo (Evocati6n). It is difficult to say what
holds these dances together as a group: it is probably that
the triple meter is made unstable by the use of hemiola,
syncopation, and in the rondeffa and tarantas, an alternation
3 6 3 of 14 and /8 measures.
Chabrier wrote of the malague5a:
"It is impossible to write down the malaguena; the dancers themselves instinctively syncopate the measures ina thousand ways, s tr i king with the i r heels an unbelievable number of rhythms.,,4
28
Certainly it would be difficult to guess the meter of the
opening of Malaga because of the numerous syncopations,
accents and abrupt motifs despite the regular four bar
phrases throughout.
Ex. 16. Ma 1 aga
I Ul • ~I 58 "
1\ ' . , ~gro "noo . . = .J>'>
oJ l' . I .1 ~1'~ lit "..rp,.,·.'.tiJof r,.,"""" ~:>-::-=:: I >. ~ =- T ~ 1 .,. ~~..., E1 -'-- '
:>-
" ~
~r=-l-==-'~ D-r~r~'I'
Nala.gue5as as they appear in folk music anthologies tend to
appear very straight forward rhythmically, however the
overall effect of a flamenco performance with a combination
of guitar, dancers, singers and possibly castanets and
tambourine, results in a great deal of rhythmic complexity,
and we hear this in Malaga. The following transcription of
a malagueffa with a cross rhythm between the voice and
accompaniment serves as another example of the rhythmic
vitality of this dance:
Ex. J 7. Lacorne. Echos d' Espagne
MALAGUENITA PETITE CHANSON OE MALAGA.
Transcril~ et Iraduit .. par P. LACOHE.
*.," .Iuil .bi~n 1113r'lul!r I .. 1"'~mic"I"mps de ~haqll~ m~'"r~ a ~ d~ 1'"ccompal:lIl!meul. Lc ch:onleur .Iuils"ine Ie rhvl"'" i. ~ ""'S ,e p"';occul'era. celle contratiict;"n rhythllli'lu~ t"re. rr~'llIl!lItc .Iall. Ce '';~lIre .I~ eI,a",u!, •. II duit au.si reteni,' ou pre..~I· la \a cUI' des (lIIlcs sui",llIt Ics eXlg~lIct!8 prosodlqu~s.
'"'' ( I" ~ l J ~ l l ... ... ... ... ... ....
"
:v
~
" -
oJ
riJ
... >-
J J
Pcr_ce nloi
/In_'IIt' COl.
~t J :J .
-_ T .,
.. -.. ~ ... ..
It'CCl!UfIll3
r ... 'I'
j'!
-_ .., ..,
JJII ..
:J
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~
b~1:""' Ie, 7:nl,
. .,. .- ... ... ... ~ .... .. ...,. ... .... . --.=. ~ -
~.' ---oO'!!l
... .. ~ ... ... .... .. ..
bel 1;"/
... .,
-... >-
- Ie,
... '*' .., ..
......:I
Et dis ;. I' ,Ii_rn.
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... T
-41 >-
-
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tnu~ ttU~ C't'"
qu, ~n ,.,
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>'7'" mOl
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... ... ... .. ." ." ....,.
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if
.. >-
:r :r
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It! CO!Ul"lIIa
,. - .. p. -
~;or ;or
-... >-
.. ..,
.>-
.-'--
... ... '7 .., ....,,:::
29
3 *One must accent well the first beat of each /8 measure in the accompaniment. The singer must follow the 3/ 4 rhythm without being preoccupied by this rhythmic conflict which is very frequent in this type of song. It is also necessary to retard or quicken the note values in accordance with the requirements of the verse.
The rondefla below shows a characteristic
giving the effect of an alternating
signature.
Ex. 18. Lacorne. Eohos d' Espagne
(See Next Page)
6 /8
30
herniola device
3 and /4 time
Ex. 18. Lacarne. Echos d·f Espagne
EL ZORONGO
Transcrile pur
.I.I'UG l' ALSUIIDK , ,\Iod.ralo (II .•• =69)
PI.I.:;O.
i I~ l?
.... 11:1 .. \'1 .. l't~, dCII). na .. ' i _ ...... , 14t1.r; .. u do. ..a .. r ... ur.
= ..,
Truduile P''''
1'. LACU.H t:.
\11 na.)i .on', "I'U' na .. \ i...rto"
,'" ,,,, ... ,i ... u ,luI 141' ... fl..llIl,
V
I .... .. .... L ~
..,
St~1I \unl Lit'll lulU \'''~'a _;':1'1"
Tr",' .n .. rI .. 0. P"" I., IIIl1r!
-1=' .
111 1'"
."
."
'i i 7 ; ~ F .lla;. "il '! tI Irni,
Nfl .. rl."'.
1II,li ... ~'il ~. ;~ Irui!j . '\, hll .. bu, ... raj 'l'III ... lro
UiI ..
--- ' --\::!::::i== 1 -.-
I" \i_rt:!i_ Chi un d. 1'1,,:- acoII'f1-l',,· ... f.hl un ,'to "Iu-; if. cump_ - r._ "'. Hn ... brl_U 111111 • q'''' "UN ... l(fr •.• Hn_ br .... ,. m,,, '1",. I'nlt.
~
I ~
,,7;'-. ~ .r.J_r.-, r-=""! ~ rI"'t :--
.... I . ii-:'_ ........ ." .., ... '.- .. ..
31
32
Albeniz exploits this in Rondeffa: the hemiola treatment is
quite systematic with continuously alternating measures of
6 /8 and 3/4 :
Ex. 19. Rondeffa
{ I
A.llegrotto. M.M .• ·:ff6 _ .. >-==--A~
" ~ ~ .. t mf
/'I :
T~=J.'7i~ V V' .k' _lK ... 1 pr,,..,.,,,
~ r
i -----=----.J.
t.../ ~t>- .'7!'7"""~ --.J V~ V r -~ k .
~-.. ,
In contrast, a subtle simultaneous hemiola treatment is
employed in Almeria; note the alternating time signatures in
the left hand only:
Ex. 20. Almeria
M.M.J.: 72 A.llegretto modlJrnto
{ .te. >- 11;. , .ll.. ~ >-:, ~ . - 1),
-= ~
i(~ ~!i=~'" "- 'ir= =-i-r'-O .---.
loJ lL!"r ~ ~Ji~ r-v i-Ii I I i -= ~ I-==:::::: -=
I rilll,'" ::r-
~~ ;> ~.J-) >- .A. ::>- ...
, tz:=.-
J- J- I
~~ .r~ ~"b.
'fill. t.'lI.. II •. b . . "'c I, ptlit. ptdtlr.Tout u mortuu doit ,In J(.Uf d'ullit r'~011 aoatl .. luta tl mo .:ml" ltD ,,' IIltt.
The languid, swaying nature of the piece is Moorish in
style. Apparently Moor i sh and Oriental dances are
characterized by movements of the body rather than the feet.
Both Malaga and Almeria lie on the Southern coast of Spain
directly across the Mediterranean from Morocco and Algeria.
33
Hav i ng s ta ted that the above dances are der i ved from the
fandango, two additional characteristics should be noted:
an increase in speed as the dance progresses and the
introduction of sudden pauses when the music stops abruptly;
the dancers freezing in position until the music starts
again. A segment of A J mer ia. that seems appropr i ate for
these effects is:
Ex. 21. Almeria.
---. .... .... >-",.., >- .
~ ~ ::::-. ., .... '+F if-
::==-
"">- >- '::> >- >-
T . --... y
{ 4- . L. --I- ,. • L .
.,.. ~x
~ ,.... --.
r-
... - - - -- - -.<f f==- f=- f= J=- If "'j' \.",. s,.,- - -- '1'" \rt' 0."" ..- - I
1"""1:
.r ~7 , -r r T T 1 !tT 17 f J f· IJ
~~ ~ f t:'I • Tempo
., p~
..... ~ -~+~~ __ 7 t:V-9 lUll.?" ':::;:V'H I I '1 c,..J ~ >-"== ......,r. I I I - ......,.L , >-.L
J\iTrT 17 - ~ I r....:.--- L.:...--~.
34
As with the fandango, the seguidillas is stylized in Iberia
in its flamenco derivation, the sevillanas, which obviously
originates from Seville, one of the principal centers of the
gypsy art. 3 t' It is also in /4 Ime and is characterized by
phrases beginning on the weak halves of the beat. This
gives an impress i on of a cant i nuous forward mot ion in the
music. Triana is a gypsy quarter of Seville so not
surprisingly the seviJlanas is featured in this movement.
Since the revelry of a flamenco performance will frequently
conclude with a sevillanas, it is fitting that Albeniz chose
this dance for Eritafla, the finale of Iberia. Examples 22-
24 compare a well-known sevillanas with Albeniz' use of this
rhythm in Triana and Eritafla:
Ex. 22. Aguila. Las Canciones
(See Next Page)
Ex. 22.
Ex. 23.
Aguila. Las Canciones
SEVILLANAS (Andalucia)
J. de Juan AII~no.
g'a:: II ~ ~ , :;
I. l.7
D ,6SGEar' lO .. daslasma .. ,. nJ
QuCn len .. .9~.. toJ qur 'Ie
Sol II La' h
~,J p , J<2!D ' J,"1 la, .1 e, .. re can to,
tJon.d4!...ha na - cj do,
QuenoheYco-sam f't min __ en el be .rno mal blan
do co-mo ml co que,2I1YIUMOal
·J:J~I ~ I, La 7 I.
""!' Ol<£££D J. "t p p p I ~i=== 0,
trao.
SI/=- , .. ' ~': ~~
... t c; , p ~ C P > c ..
be 'no. que~., CD - ~n or rI 0. .. .1 be -rno rnOs
Triana
flu W"'-_ ---
>= :. _'. :. _. .L.
1 'fell,
35
36
Ex. 24. Er i tafra
p:--' "",I"/f,,",.,,rf'.,Wlf'1t,nf
~ t.O. ;;; f.lI.
~ .. I :,;:. ..... ;:" ;::....
~:--- ==== 1\ , ,..--r-. :+ ......... I
~
oj ~ ~ -=::::> ~ ==== == ~ == .---p -===:: ==--p 'j===-p
~ == >~. >-.... --....-.... ::>:' ~ =--F-' >- '" . t:= = l=; ~!:.L~J.~ ~:;..:: .L ~ ~ ~ f=F==: ., ., ....... .Ji ... +~+~ , ,#.L ~.:* J.'; .~ ~ .. ~
i-;9':' f. ,- - i-~i' s ~. ~. ~. *
There is a curious metrical irregularity in measure 7 of
Eritafra (See ex. 15) by the inclusion of an extra beat.
This probably can be attributed to the improvisational
nature of flamenco and the irrepressible forward motion of
the sevi llanas. Chabrier described his impression of the
sevillanas thus:
"It is all rhythm and dance: the guitarist have no value; besides, account of the cries of Andal 01 e I .•. ,,5
airs they
La
scraped out by the cannot be heard on chiquillal Andal
One of the most exciting forms of cante flamenco is the
bulerias, a vibrant combination of percussive accentuation,
syncopation and dissonance. Albeniz stylized the bulerias
37
in £1 Puerto and more extensively in £1 A1baicin. As
always, Albeniz is meticulous in his use of accent and
staccato marks, in this case to emphasize the dry, metallic
plucking and strumming of the guitar.
Ex. 25. £1 A 1 ba i cin
1\ .... .. - .. -- ; I -- - .... ....
oJ I I I ... ~-"!:::;:; .--- .....
1 -J I
1- J >1 : >i I :1 ~
~
II - > > >
oJ t:r"). I l' f~r' ~~ 1 i' ~ ... ~ '-3-:}/ ! q,!" "ff'fi),.
> > >
{ I') = = ,.r ~ .. ,. 1r(' ,sr" H'" l'" -
~ ., .--- .---- .---- I -- ...... T .... I -- ~ '! 1 I -> I > >1 ::>-
1\ ~ I . >- .:>- • = , -..- . ..,.. . I >-
oJ .T '--T-.: [ .. ~~ ·,-T~ ..... ~ r··~ ~ ~""',-=;-'.
II ' , -- ......
oJ
>1 ... >1 i>
" >1
..... i > ~J ./,·.pilu.o ~ Jf I . ;::: >-I I =~.II F"=...., r-:-'I ~ .~ I I
~ .. ~ I .!" "- - [~: ~ 'II<
~ • t ~ .. "t
The designation strepitoso (noisy, boisterous) is highly
appropriate as the rhythm of the bu1erias will be punctuated
with slaps on the guitar, handclaps, footstomping, and
shouts.
38
6. THE PERFORMANCE OF FLAMENCO AND THE GUITAR IDIOM
The previous chapter discusses the rhythmic variety of
several of the Flamenco dance forms employed in Iberia.
Below is a description of the overall picture of a flamenco
performance:
The most popular method thoughout the Hispanic world is the
cuadro flamenco! which comprises an intimate group of
singers, dancers and gUitarists arranged in a semi-circle on
a slightly elevated platform. The audience are themselves
performers, clapping and shouting words of encouragement to
the singers and dancers. The guitarist will provide a
prelude to create the proper atmosphere and mood, and knows
instinctively what the performer is going to do. The
guitarist plays a dual role as solo and accompanying
instrument, but it is chiefly used as a rhythmic instrument
which we have already seen in the bu1erfas of E1 Albaicfn.
The festivity is further heightened by the random
combination of shouts, heel-tapping, stamping, castanet and
tambourine effects.
Walter Starkie has written a descriptive impression of the
bu1erfas: 2
"They are sung in order to exci te the dancers to frenzy, and are danced with the taconeo or hee 1-tapping of the old tango. The bu1erfa certainly is a dance full of gusto: it is the ideal dance for the juega or spree. The gu i tar i st is the first to announce faintly the spree; he sketches
the vague rhythm: then comes the wine which loosens the tongue, dispels black thoughts and flushes the sa II ow faces of the gyps i es. But it is the gradual crescendo of the hand-claps - like the dis tant tramp of a funera I process i on up to the thunder claps of the bulerfa - which releases the demon. Then the cuadro flamenco begins to combine together as if by magic and are on terms of equa Ii ty as dancers: there is no pr ima donna among the girls. One by one they emerge from the background and occupy for a brief moment the center of the stage in order to express the i r individual theme sustained by their companions."
One author has written of the play element in folk music:
"the performer embellishes, alters, and often distorts, making the impact of his own creative personality felt and revelling in the joy of being a cause. He takes pI easure in technique and its mastery, and in the course of exhibitin§ it, he wil I deliberately attempt the difficult."
39
This is very relevant to Iberia and probably accounts for
Albeniz' attitude concerning the technical demands of the
music. Also, perhaps the reason for the frequent dissonant
figurations and seemingly excessive amount of notes is that
Albeniz was depicting the combined sound effects which are
so much a part of flamenco. For example, this texture form
in Eritafla might be interpreted in this way, rather than as
a complex pianistic technique for its own sake.
Ex. 26. Eritafla
(See Next Page)
40
Ex. 26. Er i taffa
~rf!!~. umprt'
:>--: »,,---...
~. ~. 7--== 1 • ~.
This excerpt from Triana may well be depicting the shaking
of a tambourine in the course of the sevillanas rhythm:
Ex. 27. Triana
~. A"U-L .... ~*'L .... u ch. ,x _=< _T - - ~ .L!.. ' . .,.....
I"' y ;:::: -1~- - 1. I === i --=== l' JJ~~~ mll~ -----==:::;;-.. .
~ -II. ~r:-:l ] ~ -" t " I 1 ;'.L~-1 bJ~ .;!: i I~_ L : - .
r " ... r ,- -. . -~ ..JCf~. ..... ~ ...... '" CfUl .• 1-' ,
The technique of the guitar and its predecessors
probably been an influence on Spanish instrumental
41
has
music
since its origins. Certainly, the imitation of
effects in the sonatas of Domenico Scarlatti are
guitar
we I I
documented and this trait is common to all the composers of
the Spanish school of piano composition (Albeniz, Granados,
Falla, Turina, etc.)
The two
strumming
principal
chords
methods of
(rasgueado)
playing the
and plucking
guitar
notes
are
in
succession (punteado) which are illustrated in this example:
Ex. 28. Dcon. Cantos Espagffoles
(See Next Page)
Ex. 28. Dcon. Cantos Espagfioles
RONDENA 0 MALAGUENA (Usm:D4.)
IC li:' I Mth!liil ,I iii {;IHI jil = tJ z::t ....... +. ... 4· -4 • •
. l@iirg;:l ;1-; I;; iiiJijii1ii;.tIl!' ~-:I ~. 11 7 l1' 11· 11· 7. • :;;;.. ;J .. 77. D.C .
. :., . .... . MALAGUENA CJomrriuA.) ' .• . ..... . " ro ...... rJ,,4iea .. u,... I Antln'"" *"" JI~~ir.
AlIrgret1o. (J: In.) . -~ '-~ -~ ~ ~ P'T'M ~
Gultllrrn ... ': 1i r I ; r I ~ r I .- I r r .- I . ~
I ~ ~ I
Canto • ... '.
Pinno. I- ii 71 -'"- .. .. 't¥ . :w ;: 7 .. ;: ...; fi • 71 :;: ... ;
... ... ... ..A - ;t....,;!.- ~ --- ...... - -'"""" "'!-.
_ ..... :--..
OJ r I • : .. , ~ r I , 7 7 • I i
OJ
I ... ; ..; ~i'" ;7 i71 ::; ... ;71 i ar ;71 ; .. ;. .... ; .. ; .. ... ... ... .- ..
42
A combination of both effects can be seen in the bulerfas
sections of EI Puerto and EI Albaicfn:
Ex. 29. EI Puerto
(See Next Page)
, (
{
43
Ex. 29. El Puerto
> >- s····::;;::oooo ••
'7 - "'r--.. . A. .. ... ~ ~ . ", >- -~ #-. , ,"" .: .. > .. .. IL.
oJ '7tr.r~:::'7> - J.f! 1 It" .- - ~;~ " tP >0 If .,n9 FTl J1' hT . .,~, , ~.;. I.' - ... .A. '7 !""': .... ~ . :
~. " > ~.
" I, - - -0'-
Ex. 30. E 1 Alba i c in
" .. ' .. .. ... --- -, - - .... - = > >
,::
oJ
>1 ... ~-,~ -~
i -1 !
J I i 1 1 J I >1 ~
" , - > > > -
oJ l'r'",. l' f~i' ~~ -f ::1;~;=~ .•.
__ II' .;/ : q~
" ~.
> > > I'l = >Fe ""f' ... ,.t' ",..' ,,.,. l'"
I = -~
,
oJ ................ '''''''' >~ - • I ..... .... '! ..... "'!' I >1 >-
I'l ..... . .".. = 1 -.- .> I > -IJ .::! T' '-...... "+ -r' .~~ '-......'-'*~ r··~ --.JT ~...;:':'*_-=it
!ill .
" , -- . -. ,.~
oJ
>1 ..... .;
>1 f>
.;
i> I > ~j' '/"pi/o,o
=== JJ > FF1~; , r--T"" === t- .. 1 1
J' "t-f '-.: - [" ~ .£.'~~ 'b. '*'
44
Note the designation in EJ Puerto: "rudement marqu6 et bien
sec" (harshly accented and very dry).
In contrast there are many stylizations of the beauty of the
guitar as an accompanying instrument.
Ex. 31. Evoca t ion
Allegretto e~}lressivo 1\ , ~ - ...-=
; t! ~ • .... v.... ,. -' -?~ =-= tI",.· ... ..... I~' ~t\ ~'" c-r---:h
, 'tw. ciw.
Ex. 32. Jerez
P =- t:::::: pULO "~fu I ~ JL~~
f-'-====== ======~~. - =:===-'tW. 'tW.
45
The following quotation gives a wonderful indication of the
importance of the guitar in Spanish culture and its
influence on the music of Albeniz:
[Albeniz, Granados, and Falla all] admired the guitar as aficionados, but only Albeniz grew up playing the guitar as well as the piano. A fr iend, the painter Octave Maus, remembered him during his student days in Brussels as "a little black [-haired?] man, bearded, squat, who arrived from Spain in 1880 or 1881; in the folds of his cape, which was proudly draped over his body, he hid an enormous guitar. In the intimacy of studios and salons of friends, he sang. Leaning on a tab I e or on the arm of a cha i r , his eyes wrinkled with laughter, his fingers nimbly plucked the chords; he evoked on those unforgettable evenings the Spain of the dance, of love and joy. And often the concert was continued in the nocturnal streets with serenades and Andalucian songs."
Albeniz went on to become one of the great pianists of the century, but like Scarlatti before him he wrote for the keyboard as if it were a guitar. In E1 A1baicfn of the Iberia Suite, for examp Ie. he recreated "the deafeni ng sounds of a guitar that laments in the night," as Debussy once described it. Many of his works are eminently weI I suited to guitar transcription; as he himself observed when he heard one of them performed by Tarrega on the guitar: "This is precisely as I had conceived it,,,4
46
7. SPANISH FOLK SONG
Musical Characteristics
The most obviously defining feature of Spanish, and in
particular Andalusian music is the melodic and/or harmonic
cadence formula based on a descending tetrachord
corresponding to A - E on a keyboard (referred to as the E
mode): 1
Ex. 33.
E mode Iypes
~~~S'~i~! !~e~IEr§: 1~~8oE5!~' ~e§I1~~~) ~ ... e,8g~{ .~! I~S~ (e)
iiliS§ !I~§dl
The paral leI triads dissociate the mode from the tonality of
modern European art music. These excerpts from two
Andalusian songs, a ma.1a.gueira. and the popular £1 Vito
illustrate what we think of as the Spanish idiom:
Ex. 34. Pedrell. Ca.ncionera.
(See Next Page)
Ex. 34.
II
--.I
1\
-.I
Ex. 35.
Pedrell. Cane i onera
--= I -,
~ ~/if ;. If if 1-
~Ffi1...
r I I I r
-~ r r p ff.i..fFfj- Jffl-
'r r i I r I
Aquila. Las Cane i onas
EL VITO (Andalucia)
J. de Juan t.~
p I [ (51 Con ,I vi.. to .; to vi . to _
11/ Lo.
4-0 ~ p' S r 'p j
IIi II I "a 111 ¥ 0 C :1
_ can" 'II ·10 'I' ... to "I _ Con.1
~ ..- II, 7 ~ So, .~ IIi 7 t.~ Sol J ' }.J'I F ,Wi I W' ~ I .;'1 ¥~ p I Yo no qUI •• to No rIM mi .. ,e, U .. M ma .. Ie .. las 101 .. t. .. raJ
que me ml .. ten II I. CII .. r. sue.M luG I sonde 0 .. to
quem. que me S..VI ...
'.1 ca ..
poneto CD ... '0.. t •. _ Yo no quit! .. to que "'" .,on-Io co. b ... r •. _ Yo no qule .. to que me
.. Ia... ver los to .. 1"01. V!!, 11 ml .. tad del ca· • sa .. dla son d. pIe .. ta. lA. viu -dl .. tal Jun de J.'. II' LI. Sol'a Sol :4.s '1'«3 .
., J .4\ I· ) ~ I P j I p J I '€) II mi.. r.. qUill me poo-so CD .. 10.. ri._ ml _ , ..
-ml _ no
co.. bre
que me VIS ~.. not .. ma... ,ar._ .. cal ... tI ... v. .. ron \os mo .. ros.
y I. vie. ial d!.lo. ",. II - ...
47
-,-
r
48
The most prominent example in Iberia is found in the opening
of Jerez:
Ex. 36. Jerez
I Andantino \1.7ti= .. /rqa/i"imo ~
PP~' i~ ~. P"<~'j~~ ~.~.~. r~V' ~.~.~ .. 2~.~. ~.~.
Here the triad on E retains the diatonic third. Usually as
in the above examples it is raised which gives the
impression (accustomed as we are to Western Art music) that
the music is cadencing on the dominant rather than the final
of the mode.
Hajor and minor keys are also very common, and sometimes
melodies may be a combination of the E mode with elements of
major and minor:
Ex. 37. Rondeffa
(See Next Page)
Ex. 37. Rondeffa
l'.rp"r"i,·"
" r--7I ---;--- - - -t(~
I~ .............. 1 ........ 7- ~1!r. -fij ~"f ~:) ............
.. 2"-
I "'llIIu;,\ hi,." 111111"/"';
' ...... pp 111.1
~~\.rT"1 ~ .-.. .l'i.ro :
- - .. ~ ~2- - -;9" ________ ---f' ~.
7'"'--. ~: -9- • ru,. ---_.-" , ~~-----
fI ;0 - - ~_2_ r:- -~
{ -
~ ... ... -r ···~·2~~-$" :t?~ .p . -.,-~ -I p,,"') "''''f!' sf
II r71 ~ -p ~- I"'- - ~ :-:l - " .L t,J.i. ~.A. I~ .. .L .. L~
- "'V'" :='2 ___
:~ - -7 ______ .-2-r ru,.
1\-;--'" - .,..,n'p,.,.--;.rjJr .. 'H/ I ~ -,-- - -.-
I~ ~9-' =G$~:: ~~~::D ~. .. . . • G" "'..-;?j:' -.:-+ l!]"L!:J -., l"I" 7r r~
! ...£p ~ :
-=~ ~
1(' '.-6-. '--------I ru,.
PP ,....., -.-, :t,~~ ~~ Gm~,
r-=----_____ r' ru,.
'<-.-
-- ~ -~ ---' ~.
~~-----
49
Not surprisingly another trait of Spanish folk song is the
vague or ambiguous tonal character of some melodies.
Another important feature of Spanish folk song is the use of
the so-called Gypsy scale with interchangable major or minor
2nd, 3rd, 6th and 7th scale degrees: 2
Ex. 38.
g i. 9- • ,«. 0
1. * 0
1.
" 0
0
The characteristics
prominently in Almeria:
Ex. 39. Almeria
~UI.J. = 72 AII~gr~tto modornto
of this scale are featured
{ 1'1 ;. >- ~ t\ _/\ ~ ~ ~
1\ •
, oil
:
1'1 "
, oJ
:
..... :-=---==--;; , • oJ '1"' ___ .,.~~ I-Y:"-V ~"'7T1- ,-;;:". II
~ i -= ~ ~~ -===: 1-= ,j,/" >- __ J--l :;>
_~1-) I ~ ..L >- .L
~ --~~~ ~~.
I
'£.~~ I~
f.o.
~ 1...---,-.,1'1 I -"':-:;:=- .~ v-;-h 1
..: 'l-. '1- Y N'7T, W 1'--J 'F--~ 8 1¥= I-P --= -== ~~ :== -= --= :;>
~ ~ ,
~o. ,,"*' .-, '£.0.
-r- .... - ..,. -
~J r
~""'I'I ,. If,'r
~ ~ r ~ --,---- .f~ ~.
>-
I~ 'fill. -= ::::=-
>- .L
I:::-..... -- T-
- -~ .~
f~~
>-..
~ .
£;. ,,~ ..
.- T - -
--==:::. ===-~ ... ~.~
'£.0. ~=====
--=== ====-
I~ ~. =
50
very
51
Albeniz exploits the potential of the variable gypsy scale
to create a sublime effect by the use of whole-tone scales
and harmonies:
Ex. 40. Almeria
fI" - _JL'" •• a
-
( ( ;'l IfI~ tcL-.
,"' -~ i ~-: I
b~o I 1 __
• I
I , L -.
I
~
...... 0..--
,...........;-~ ItL~~L,1 . ----~
rI,."· ... .,' IiI. -
''''''pr,. dfJ{c~ ,f p,rrf,.nrlo\; .----..... .---
I~ = ...... .L
-~
I.......:i;"": ~ ....
k-l=~ ~I~~ -, , :a:--ri~
1'--- -I "
Having mentioned the importance of the descending tetrachord
formula it should be noted that Albeniz incorporates this
very early on in Evocation. It is as if he is introducing
the suite by presenting the most Spanish musical trait of
a I I :
Ex. 41. Evoca t ion
(See Next Page)
52
Ex. 41. Evacati6n
II -{ 1
01 ~+;;.+~ .... IT"';' ___ TT ~"'7"'''''''' ry ___ T-..,.
~T ... T ... ""
..-:--;- ';.-t"""-.J.) I u-""'" 'J~ ~ pp~~ /" . ~ . ..-: 1- _.
~ ~. ~.
II' ,""'ir .. -- ~
{ loJ T ... T P'+..,. ... ..,. ... T T T. , . -~ • • ) ,
= ,j'I •. ~~ ~ ,...-- ~ i'\~ -:--, ~~ ... ~ t--•. = .
_.v· ~. "'. 7' V· ~--:--_--I ---------, ~.
Cante Janda
The oldest and most characteristic type of Andalusian folk
mus i cis known as can t e janda ( .. deep song"). Manue I de
Fal la, who made a profound study of cante janda, stated that
the three main factors in the development of Andalusian folk
music were (1) the adoption of many elements of Byzantine
chant by the primitive church of Spain; (2) the Moslem
invasion and occupation; and (3) the immigration into Spain
of numerous bands of Gypsies, most of whom settled in
Andalusia. 3
Gi Ibert Chase summarizes the features of cante janda as
follows:
Following the analysis of Falla, this influence manifests itself, first, in the use of enharmonism as a means of express i ve modu I at ion; that is to say, certain functional notes are divided and
subdivided into intervals smaller than a semitone, obeying inflections of the voice which in turn are determined by the expression that the words of the song demand. There is a I so the frequent use of the vocal partamenta, the practice of "sl iding" the voice from one note to another through a series of infinitesimal gradations.
The melodies of cante janda generally move within the compass of a sixth, but the use of enharmonism na tura 11 y extends the number of tones ava i lab 1 e within this interval considerably beyond the nine semitones into which the sixth of the ordinary European scale system is divided. Another markedly Oriental feature is the repeated insistence, amounting almost to an obsession, on a single note, usually accompanied by appoggiaturas from above and below. This produces the effect of a sort of incantation, such as may have been sung by primitive man in prehistoric times.
An element that cante janda shares in common with Byzantine chant is that of ornate melodic embellishment, which, however, is never a merely extraneous ornamentation, but a result of lyrical expansiveness induced by the emotive force of the words. These embe IIi shmen t s lose the i r essent i a 1 character when an attempt is made to transcr i be them within the fixed intervals of the European tempered scale.
53
Therefore it is virtually impossible to convey a faithful
impression of cante janda melody through the medium of
modern European mus i ca 1 nota t ion, because of the chroma ti c
inflections and subdivisions, and because of the free rhythm
which does not conform to regular measurement.
In £1 A1baicin, measures 69-96 (and also 131-150) represent
a stylization of cante janda, the deep song of Andalusia in
the form of the seguiriya gitana which is considered to be
the purest form of cante janda.
Ex. 42. E J A J ba. i c f n
{
" Tempo ... ,I?rt" ppp.,I""
1\ ~ 1:'> '" :. ~" -- -,
::r. oJ -~ I 1 \-o~ 1 I;
: -~.tr'nufl' I I 1
---t:
- .- . ') .. ' tL , ~
tUI"~"PCtl,.,. ~ 0~", ~
"'- -oJ I'L ...-..==-- --=~ ~
... -..... . I
..... .r'-=-~.
fl ..-- --- . .- --oJ
I
stesso tempo ohe prima
J
dtPO 101 pttitf" ptda)"rt tieD uniform" dt" ~.IIII},.itfl"lI cherchaul ctllt dfS io!ttramfDh. .. lach,
... ~ ":
I I --== -= P #Ii,." QTlif.'ul';
I -- :::::-. -#----.-~~ ,-
~ .... ,,7 /"" -.-:::.
- I W I I -~, F'u\ lUljIIlr '1{'1
I 1 I ....---::=:::::
. ~r' ~ -(,1 '.J
--!..' ...:,.....-: prt'Ui: un r"u
u. __ 11-
n!J"/--= =-~ ---= = --== ~ ..--.-:::::: -- ::.
- J
ppp 'I' ppp au 31ouv~
c:t r'1 r'
~~, 1\ , ~, ... :;;" ... ,--::::;..., -oJ I W>i I I W>I I I I >, I t
1 ! I I I ~ - 1 1
~r- ...... ,~ - rZ -----*' 'fill.
SHU'U ru"uf,) " Tempo
?;;" ~ '" - ppp> ~ fl . - " ~, ~ ... '1 ) .. -==-
01 ~I W>I 1 - I..J >; IW >1 I t\ ' I I I
#JIlt-up;;' ~f :I: i I 1 ~ I
01 ~r: _ ..
i~'i *'
54
55
Falla stated "the absence of metrical rhythm, or strictly
measured and accented time" as one of the elements of
Byzantine chant found in the seguiriya gitana. Despite the
bar lines and time signature Albeniz achieves the necessary
effect of rhythmic flexibility by (1) the upbeat beginning
of each phrase, (2) the tie over the bar line, (3)
syncopation: notice the subtle crescendo markings and slurs
leading to the syncopated B flats, and (4) the caiando
designation. Essential melodic characteristics are (1)
stepwise motion within a limited range, (2) the dominancy of
a particular note (reminiscent of liturgical chant), and (3)
ornamentation. The interludes and exuberant piano writing
before and after the cante jondo theme are of course
stylizations of guitar effects and representative of how
such a piece would be performed. Note too the lengthier
third phrase (mm. 81-88) which shows the stanza form of the
seguiriya gitana. Incidentally, Albeniz was fond of
depicting cante jondo copias (vocal refrains) by writing in
unison two octaves apart. Other examples can be found at
the end of Ei Corpus en Sevi J Ja and in some of the Sui te
EspagfloJa pieces. Manuel de Falla also employs this effect
in his "Nights in the Gardens of Spain".
56
The next example is a transcription of a seguiriya gitana
(probably as good as western music notation allows) and
illustrates the musical characteristics listed above.
Ex, 43. Rossy. Tearia del Cante Janda
; .
.. ~ .
. ' . ': . , ..
", ... '" . ~r;~.;-;~.. '. " .... .-----:=~-:-:; ... ~:. . .' :' . ~-.. -. " ..... ' ... !.~.~::r:;~ ~\.i,O:-,;;;;:~.:".;;. .... :. "':~-7<;:""-' _.:..;..::. ........ --': ..... ..0-- --.-- \··~.;..;:.:.:O:'..:.t __ ..... ·...:l.:.,.=:c;a* '!I.>:"2:.;?'!t. .' .' : :-'- -.' ," .. ,: .:'.: ':-.. ,-' ~?:" .; '.. " . , . . :. -:-:. -.' .~ "'::-::."'/~
, "
".I ~
eli f
• !. ;
I I
+l-I
• • . I I I
I
• .. • I
1 I
I
..:.. ~ 1\
.\ . I , ~ • ,
I
" •
H-i I
0\0 ~
+' ~ t.
I • .. I
• •
~I I I . :. " • ... -'""'f_
.... 1-
II I - j{ ~ I · I
I , ~ • •
-1 I · , • ,
-'
I l:-
t ? r ~
'1 ~
, I , > · ... I
• ... · -f .):
~ ~
~ · .... F' .,
~ I .... I:"
,)~ • I ..-.. ~
~ j~ · · · ) ! , · · -" ! .. j- .... J.. ... : ~ _. -' 1 l'
~\ .. · I
• ,.. .. • f • ~ • ., : • · · , • , , · ~
, /
I · ., • I ·
57
.. ,
: - .. c . J
I , 1
.~ ,
" ,
~ I
" D po..
'!t ! I · · • ; I I
F ~Y 1
.. ~ 1 I I ,
...
~ '.-U,
.....: to I' r ) .
.j I
.j It , + . ,
s;-'.
, , ",
.: . .. ~.l"::~.:, " ....
,
.~ · , I I
.~ I ,
.j. t
! I ~ .~ :- :
'<I I ,
j I I 1
41 , 1 , · ·
rr I I .. , I
i 1 I
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i .:.--:...a - -
~l I I
I I I · I I ,
.... "
~ ~ ,. ;;0
.~ , " ~ ~
-t '" .~ · · · t>l I I
I , I
I , I · I
. ~ .. F"
.~ I
-+ :I 1\
01 r' I .. : j I
; ! : 19 , I V , , , j
, I ,
-1 ( ;, I
~
O~I + J.
"
- \
~ -S j-, I
~ I , I , I
!Io ~ I -p. i1 ;;
.....; 1; ~
~ <' I . !
~
~ >
0\ t I ~ ~
fo : ; .
I , , , I I , I
..!~ ) ,
I , . ,~ 'J
I 1
~ 1 , I . I
I..!.
:) r-: I ,
~ 1 I
.\0 I ,
.1. I ,
~ .: I , I I .... I 1 , r , I 1 ,
~ I I
~ -,
P 1 \
010 ~-
~ r ) I .
~ ,
II , I
r I
.I, I
~ " 01
I
~' I
1111 ~ 7
II
According to Gilbert Chase:
"in effect, the seguiriya or playera is fundamentally a lament imbued with the ineradicable pessimism, the profound fatalism that
stamps the most genuine manifestiations of cante jondo. Derived from the seguiriya gitana are other forms of can t e jondo, such as the po 10 (E 1 Polo), and (more remotely) the solea (Jerez). The solea or soleares (from soledad, "solitude") is another plaintive song of sorrow and loneliness. Those who think of Andalusia as a land of perpetual gaiety will be disillusioned to learn that suffering and sorrow are the chief burden of most of the songs of that region, at least those which have their roots in the Arabic-Hebraic-Gypsy strains."
58
Another wonderfully effective styl ization of cante jondo,
the saeta, is to be found in EI Corpus en Sevi 1 la. This
rather unique movement is a depiction of the popular
reI jgjous processions of Corpus Christi and Holy Week in
Sev i I Ie. The piece begins with the imitation of a muffled
drum beat and a march theme (actually a quotation of a
popular Spanish song called La Tarara).
Ex. 44. E 1 Corpus en Sev j J J a
f1 • ~ - ~ ~ ~' - ~ :...
{ ... ~ ~ V"7 ~ 'p ~
~ ~ I~ ~
pi) ~
.\ .. IIIJl"" PP ~
" ,
: . .. ;. .
;".' . ... , .. .:..
{" • 'V' • ~"7 "7
59
The music is continually intensified and at the cl imax the
saeta enters in fortissimo octaves. Here is the complete
saeta melody (see ex. 6 for the piano texture):
Ex. 45. E1 Corpus en Sevilla
o I J.
The saeta, literally an "arrow of song" is a semi-
improvisational lament invoking the sufferings of Christ and
is taken up by one spectator after another, passing from
balcony to balcony as the procession moves along. The
ending of the piece is especially evocative: a tranquil
cante janda melody reminiscent of the saeta is stated in
unison two octaves apart over descending parallel harmonies.
Ex. 46. E1 Corpus en Sevilla
(See Next Page)
Ex. 46. E1 Corpus en Sevilla
ADdnDtc. r.- r.-
1\' ~ "- .~ -01 ... I '~5""'J1, .. rld, . ., ..-'tf ...
PPpl -Fl ... PPPPI 1'1j 5i
" .I..::.~ - ..,.. ,L' ~" ;
" ~ ~ ~- -q:-_ - _ , .D: "~
-j ---i-'t' ~"!y -. -'"OU' ~.~ ~. ---------
rlu/t't" IIIU ,\OIlOI'IJ:)I),
-=J'
~ ... I ~.
,~1
Ii -I q~~- -~
~~ J,~
- --q~ ~------------
60
The Copla
The copla is the lyrical vocal section that occurs within a
dance or it is preceded by an ins t rumen ta lin t roduct ion.
The basic model for the copJa is to be found in the jota.
one of the aforementioned classic dances of Spain. 4 The
jo ta is regarded as be i ng pr imar i I y Aragonese. however. it
is a I so common in Navar re and severa I 0 ther prov i nces and
occurs sporadically in Andalusia. The characteristics of
the copJa; eight syllable lines, much stepwise motion, and
ornamentation on the last syllable can be seen in these two
examples:
61
Ex. 47. Angel. Mil Canciones
il~-I1. ... • .. o ~ *3 Ii) P ~ ~ ~I~ I t. ~ P p J. J' I V. /I v, por I., rin. co· nc, ----
~, ~ ~ tJ? 1 I I ), J V , ,. ,. .,. par 'A. rin" co .. n.s. ----
I ~ ~ P F I! JI I ~ ~ r Ell t ) I) 31 ~ ~ P I V, If.!."·'rh .. tt .. un 101 .a ... maJ , J'!. Ie .. 9"'" 101 PI-
r Ei I Ii I)' ~ e p Wi J I) p r dJ IZl 10 . 1 '~C¥='.n I~. 0 -""
l! n ~, p p P II =B -Til F J V. c. VA .... nim~ Sal. ---------
Ex. 48. Angel. Mil Canciones
T I It· c. ti ... nn ',. u .. ,.., ma· l: s·c .. :" • c. - r •. ",. - •• - - - ~:::=
0'= m j £ I ! ! I 1 j J I J " , I i J W : t I I ; {i .. fll .. c. _ co-mo lo,"nt,·I •• u .. fa .. n,,: ....
'I (01"1 U .. ne .. - pe .. I", .. J I .. u. .. ..
i ' 01 .. ten que' no no. qUI_" .. mo.
"aU _ -JO" iii i :; Ire I rill: [
.. rr .. mal _ . por que no "0' un h ... bl.r. - • I •
@'l!= ; T 1 I ;1~. [ a " j I J 4 J • I G i . ,rl""" .. "r... ..
'II ~ i
We find such a copla very early on in Iberia, in Evocation
(allowing for a syllable el ision):
62
Ex. 49. Evoca t i 6n -'--:--":
PPP.·, ".~ .. .. ,,111"1'. '---.--.
~"""f/lll:"'~I'I·P':'/I""I'.I. ~
..:11'-.:........ -- lJ ., t ~ PPP .1'.1:«1. 'fW.
.rr.:-,-: :> ~~ rr~ 1'1 " "* I ... I ~ :> :>
{ ---
oJ .... ---. '---' -.....;:::::..,-. -.........:::.,-. ~.
.J ppp
F5"L1 -....... ----=----.. ; l' I ~ . .i'l P'7' : ,
"- I .... :
-' - ~"'-'
~. 'ftb.
The copJas in the dances of Andalusia while retaining the
eight syllable I ine structure are in the style of cante
jondo and much rhythmically freer:
Ex. 50. Pedre I I . Canc i onera
(See Next Page)
Ex, 50, Pedrell, Cancianera
Ma'iaga
Malagueiia
~
J : • ~ .
Tran.crila del pu.olo por Pon Jose" ,If!' Souro.
E _ sos o_ios nOlan o_ios _______ _
Si no lazosqu. me tiendes _______ _
2 • b • ? I ,
Son ba.las conqueme ti .ras _______ _
;; • • Ji ;ii22:5 Ca. de • na. con que me prendes ___ _
; . y. . ""s 0 • jos no son a • jO" ____ _
. . • • ... 1\ ,Ay!
63
In order to capture this trait. Albeniz has used cross
rhythms in the capIas of Randeffa and Almeria, Note that the
accompaniments retain the basic rhythm of their respective
dance:
Ex, 51, Randeffa
(See Next Page)
Ex. 51. Rondeffa
/I 1':'"""1 --- , -
{ - - - - -
oJ ...... + +..1+ ... "7 .--' ""':$ -9-'- -' ~ -.......... III! 1II(}; ... hi,." 1l1U/"I"': in --:~'27Ty I r Tv' 1nJ'
r"'::"1~1.1.J!. ~ -pp --. .l1ITI
:
- - ., ::;..--- =-'2~ .- -?-~ :,I:"". ~, ____ ---"i ~~'------
,., ~ I - - .....-::-_ 2_ r: ~
{ -
oJ .... ...... T '-'-?;'2-= ~ - ~ -""iI:; ~ -"
-., 7}LJ 71 /I'''')'''''''' If
i-L I -p '--"" -- ~ -::. I P"""'1 - , . .L~~.L ~ ... Ih • .L.. 1. ~
- ., ;:/ :=J2~ :~ - --7- ,~ 1--______ 1
~,
/1--:::--"" - ''''J''pr,. '-;,zpr.·\ '!f 1 ..:l """"T- -- - - ")- -
{ !oJ -:"':'.;0.' -~f~':: ~~~~ ~ ~. •• • • • ~. ~:~. -,.~-ti-
~L.!,; r~ pp ~ -:-' ~m~, -'2~ I pp ~ .. ~~~ ~ ..... --:
- ~~"-- ~ .. ~ ~-'""-~. cfw-:-----
Ex. 52. Almeria
/I ~ lI.rp1'/luil fit Ai,.." ,·hal' t': - - - - :>
/ .. - . :,-
oJ IrlfJU~ ~
~= -- -II~ ,
t-~_
~: ""Tq:O'.~ ~77~ .... T7 ...... T""-+ ... ....
&J ~~ 'f~ _ - - pp~ -""I ....... .,.,::;;;.. ~/"""l""\ ~~
- _ ..........
-<T. pp -v. I~I 't!~--------f·
I\~ ." --- - _1-uhlll" - - -(
...:J:!" '" '" ~OU.l
fI'
I'" ---:z. :::£ ...... :r. T ... _T __
pp , T =r -r ".. T ~- -~ ~
\ :
~' -<!ro, --_____ --i
~~,
'J' = T~~$ Tq77""T~ ~ • - ,........;;;;..
-6-. ~, -~, --------1
64
65
It is appropriate to end this study with a discussion of the
cop/as found in Iberia as they provide some of the most
beautiful music in the suite, Gi I bert Chase wrote of the
cop/a:
"The cop/a (stanza) I ike all the verse of cante jondo, concentrates within a few lines a wealth of emot iona I exper ience, For forcefu I imagery and compact intensity, no popular verse form excels the Andalusian cop/a,"
66
8. Summary
In this study I have endeavored to show the extremely close
relationship between Albeniz' compositional style in Iberia
and Spanish folk music. The characteristics of Spanish and
in particular Andalusian folk music which are present in
Iberia may be considered in three main categories: ( 1) the
rhythms of Spanish dance and related performance activities
(especially flamenco), (2) the characteristics of Spanish
folk song, and (3) the guitar idiom.
It is my hope that the pianist who wishes to perform Iberia
wi II gain a greater insight into the interpretive
requirements of this masterpiece (as I have) by the
examination of this study. It is also hoped that the
interested musician will be led to a further exploration of
the richness of Spanish folk music. This, of course, will
allow an even fuller understanding and appreciation of
Iberia.
67
9. NOTES
Chapter 3
1 Salter, Lionel. Jacket notes. Iberia. By Isaac
Albeniz. Alicia de Larrocha, piano. London, 417887-
2 LH2. n.d. Compact disc recording.
Chapter 4
1 Chase 156.
2 Stevenson 798.
Mast 117.
Chase 158.
3
4
5
6
7
8
Revue Musicale, 1913.
Powell 80.
Quoted in Powell, p. 79.
Co 11 et, Henr i . Albeniz et Granados. Paris, 1926.
Revue Musicale, 1913. Quoted in Powell, p. 81.
Chapter 5
1 Mast 76.
2 Stevenson 798.
3
4
Mast 78.
Van Vechten, Carl. The Music of Spain.
Quoted in Mast, p. 112.
5 Van Vechten quoted in Mast, p. 80.
Chapter 6
1 Katz 627.
New York, 1918.
68
2 Starkie 114.
3 Meyer. Emotion and Meaning in Music. Quoted in Mast,
p. 80
4 Grunfeld, Frederic V. The Art and Times of the Gui tar.
London: Collier-Macmillan, Ltd., 1969. Quoted in
Mast, p. 208.
Chapter 7
1 stevenson 792.
2
3
4
Bergerac 162.
Falla, Manuel de. E1 Cante Jondo (Canto Primitivo
Anda1uz). Granada: Editorial Urania,-1922. The
article is summarized in Chase, p. 223.
Stevenson 798.
10. REFERENCES
Albeniz, Isaac. Iberia. Paris: Edition Mutuelle, 1906-
1907. New York: Dover, 1987.
Angel, Antonio Ramirez., ed. Mil Canciones Espagflolas.
Madrid: Editorial Almena, n.d.
Anthology of Spanish Folklore Music. Unesco.
Everest, 3286/4, n.d.
Aquila, Juan Del., ed. Las Canciones del Pueblo Espagflol.
Madrid: Union Musical Espagffola, 1960.
69
Bergerac, Leopold Cardena de. "The Andalusian Music Idiom."
Music Review 33 (1972): 157-166.
Brown, George Boy I ston. "A Survey of Iber ian Fo I k Song and
a Study of the Jota Aragonesa." Thesis. Eastman
School of Music, 1935.
Chase, Gilbert. The Music of Spain. New York:
Norton, 1941.
Flamenco, Guitar. Manitas de Plata. Connoisseur
Society, SRL 8643, 1965.
Katz, Israel J. "Flamenco"
Music and Musicians.
Macmillan, 1980.
The New Grove Dictionary of
Ed. Stanley Sadie. London:
Lacome, P. and J. Puig Y Alsubide, eds. Echos d' Espagne:
Chansons et Danses Populaires. Paris: Durand, n.d.
Mast, Paul Buck. Style and Structure in Iberia by Isaac
Albeniz. Diss. University of Rochester, Eastman
School of Music, 1974. Ann Arbor: UMI, 1974.
74-21,529.
70
The Music of Spain, Vol I: Andalusia. National Geographic,
704, 1973.
Ocan, Eduardo., ed. Cantos Espagffoles: Coleccion de Aires
Nacionales y Populares. Malaga: Cuarta, 1906.
Onis, Federico de, and Emilio de Torre, eds. Canciones
Espagffol. New York: Instituto de Las Espaffas en Los
Estados Unidos, 1931.
Pedrell, Fel ipe., ed. Cancionero Musical Popular Espaffol.
3rd ed. Barcelona: Casa Editorial Boileau, 1958.
Powell, Linton E. A History of Spanish Piano Music.
Bloomington: Indiana University Press, 1980.
Rossy, Hipolito. Teoria del Cante Janda. Barcelona:
Credsa, n.d.
Spanish Flamenco. Distributed by Madacy Inc., Quebec.
CLVC-CD90, n.d. Compact disc recording.
Starkie, Walter. Spain: A Musician's Journey through Time
and Space. Geneva: Edisli, 1958. With Accompanying
recording.
Stevenson, Robert. et al. "Spain". The New Grove
Dictionary of Music and Musicians. Ed. Stanley Sadie.
London: Macmillan, 1980.