The voice with the cello: Siete canciones populares españolas.
(2024)
author(s): Paloma Garrote Vélez
published in: Codarts
With this research, I intended to make a journey through Siete Canciones Populares Españolas (1914) by Manuel de Falla (1876-1946), in its arrangement for cello and piano by Maurice Maréchal (1892-1964), exploring the impact of the most common techniques in singing, such as phrasing, prosody, accentuation or diction among others, on the cello. My main goal was being aware of the potential contact points between both instruments to improve my interpretation.
Besides the exploration of the vocal technique, in each part of the research the most characteristic aspects of each song were analyzed. In the first cycle, I focused on longer phrasing and breathing in accordance with the text to generate pauses in the melody, using El paño moruno, Nana and Asturiana. In the second cycle, I focused on the diction and articulation, and also on the techniques of flamenco playing in Cancion and Polo. Finally, the third cycle explores the use of vibrato and projection using the Jota.
Nights in the Spanish Gardens. Meaning and inspiration
(2018)
author(s): Samuel Tirado Villaescusa
published in: KC Research Portal
Name: Samuel Tirado Villaescusa
Main Subject: Classical Piano
Research Supervisor: Bart van Oort
Title of Research: Nights in the Spanish Gardens: Meaning and inspiration
Research Question: Which are the most important sources of inspiration in the piece Nights in the Spanish Gardens and how all of them affect the performance of the soloist and the orchestra?
Summary of Results:
Manuel de Falla's piece Nights in the Spanish Gardens has become popular during the last twenty years. Several of the greatest performers have recorded it achieving impressive results. However, the piece presents key aspects from the Spanish folklore and French impressionism that, usually, are not taken into account. Searching information for my research, I discovered that the most important sources of inspiration come from »cante jondo« (a Spanish primitive chant), the Spanish guitar and the music of Claude Debussy. Thus, I found several examples that prove the connection and help the performer to make the interpretation as coherent as possible. The research process changed my vision about topics such as the role of the soloist, the interpretation of ornaments, melodic lines and rubato as well as the imitation of the guitar in De Falla's music. Furthermore, this information could also help not only pianist performing Nights in the Spanish Gardens, but also any musician playing Manuel de Falla's music.
Biography:
Samuel Tirado begins his studies in Salamanca, where he completed a bachelor degree with Patrin Garcia Barredo. He has participated in masterclasses with teachers like Claudio Martinez Mehner, Ferenc Rados, Edith Fischer, Kennedy Moretti and Galina Eguiazarova among others.
He has performed as a soloist and chamber music member and in places such as the national auditorium in Madrid, auditorium of Cuenca and theaters in Salamanca, Ciudad Real and Ávila. He has also played in countries such as Holland, France and Austria.
“Invocación y Danza – Homenaje a Manuel de Falla” - a new light on the piece brought by the manuscript.
(2014)
author(s): João Diogo Rosas Leitão
published in: KC Research Portal
Name: João Diogo Rosas Leitão
Main Subject: Guitar
Research Coach: Enno Voorhorst
Title of Research: “Invocación y Danza – Homenaje a Manuel de Falla” - a new light on the piece brought by the manuscript
Research Question:
How to deal with the different editions and solve the problems in the manuscript in order to get a playable and faithful version of “Invocación y Danza – Homenaje a Manuel de Falla” by Joaquin Rodrigo?
Research Process:
Two main topics were focused on in my research:
An understanding of Joaquin Rodrigo's life, both personal and musical, focusing on his relationship with the guitar and the details behind the composing process of “Invocación y Danza” and the appearance of the manuscript. A comparison of the different editions of the score and the manuscript, noticing where each one of them differs from the other and how and trying out the different possibilities and solutions for each problematic spot.
Summary of Results:
Although I could not prove without a doubt that the manuscript available is the one that was sent for the Paris competition, I gathered strong evidence that can support this theory.
With this manuscript we can see that some of the original ideas are actually not possible to play in the guitar, since Rodrigo did not play the guitar, and there are some doubts regarding the handwriting and the fact that it was a handmade copy made in a hurry. Apparently this manuscript disappeared after the first edition and all the following editions, that were trying to solve some of the doubts and difficult passages of the piece, were based on that same first edition.
By comparing all the different details in each score and by creating and trying out new options and solutions I managed to make a new edition that is a compromise between the original idea and musical intention from the manuscript and a technically comfortable and playable score.